Cross of Iron (1977) by Sam Peckinpah
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FOR EDUCATIONAL PURPOSES ONLY
FADE IN THE CREDITS:
Which are SUPERIMPOSED OVER a SCENE of almost unnatural
beauty. A thickly wooded forest which practically shut out
the sunlight. All is not serene however. SHOTS RING Out --
and we are privy to a running battle between a German patrol
and a band of Russian soldiers. It is a desperate fight --
and several bodies fall. we see the faces of several men
whose identity we will learn later. The shooting is still
going on when the CREDITS come to an END. Then --
1. THE SLOPE OF A HILL - DAY
The CAMERA is MOVING SLOWLY up the hill. The verdancy of
the hill, the intermittent clusters of daisies and dandelions are evidence of the season -- late Spring. Now the crest of
the hill is in sight; above it a patch of blue sky is
visible. The mood is pastoral, peaceful.
The CAMERA reaches the crest -- and suddenly a pair of highly
polished boots almost fills the SCREEN. The CAMERA comes
to an abrupt HALT. Then SLOWLY, the CAMERA PANS UP from the
boots to take in a carefully tailored German officer's uniform
and then the face of the German officer -- CAPTAIN STRANSKY.
It is a longish face with a high forehead and light blue
eyes. It is a face that gives an impression of extreme
forcefulness, an impression underlined by the thin - lipped
mouth and angular chin. His hair is white at the temples,
emphasizing by contrast the healthy tan of his face.
At the moment, Captain Stransky is gazing through a stereo-
telescope. His expression is grim. Behind the Captain
stands LIEUTENANT MEYER, a youngish, good-natured face.
However, it is apparent from his expression that he has
no great liking for his Captain. His lips are tight as
the Captain moves the knobs of the telescope with long thin
fingers. Captain Stransky straightens up, locks back at
Lieutenant Meyer, whose expression quickly changes to one
of impassivity. Stransky, whose demeanor is angry, says
nothing, but turns to peer again through the telescope.
2. VIEW THROUGH TELESCOPE WHAT CAPTAIN STRANSKY SEES
A patch of woods, about a square mile in area.
3. MED. SHOT STRANSKY AND MEYER
Stransky straightens up.
STRANSKY
(angrily)
Incredible -- sheer stupidity.
Those woods should have been
cut down or destroyed by fire.
MEYER
Excuse me, sir, but we retreated
too hastily for any such luxury.
STRANSKY
I disagree. It was an irreparable
oversight, and I shall send a report
to that effect to Regiment.
(looks at the woods,
reaches for cigarette case )
Do you think the Russians are
already in those woods?
(offers Meyer a cigarette)
MEYER
Thank you. We'II know soon enough.
Corporal Steiner is on a recconnai
sance patrol.
Stransky drops his cigarette butt, steps on it.
STRANSKY
Reconnaissance patrols have a way
of not returning.
MEYER
Steiner will be back.
STRANSKY
(angrily)
I did not ask your opinion Herr
Meyer.
Meyer says nothing. We can see that he regrets his impu
dence. With a mixture of anxiety and curiosity, he waits
to see what will happen next.
The ANGLE WIDENS to TAKE IN a PRIVATE who walks up to the
Captain, salutes.
PRIVATE
Captain Stransky? Lieutenant
Colonel Brandt Would like to see
you at headquarters.
Stransky nods, gazes sharply at Meyer, walks off, the
CAMERA TRUCKING with him. All about him are SCENES of
great activity. MEN are digging bunkers and preparing
positions. SHOUTS fill the air. As Stransky passes,
he is greeted by salutes which he acknowledges with the
briefest of nods.
4. EXT. REGIMENTAL BUNKER
An armed GUARD is on duty. He salutes smartly as .Captain
Stransky comes INTO SCENE, returns the salute without
looking at the Guard, ENTERS the bunker.
5. INT. BUNKER TWO OFFICERS
are examining a map that hangs on the wall. The older of
the two is LIEUTENANT COLONEL BRANDT. About fiftytwo, a gaunt gray face. The younger officer is a CAPTAIN. In
his middle thirties, a tired expression, but his features
are intelligent. At the moment, he is Shaking his head.
CAPTAIN
If our main line of resistance is
at Novorssysk, What are We doing
do��nhere?
BRANDT
(shrugging)
We're playing fire department.
CAPTAIN
Several hundred miles from the heart
of the fire? Does that make sense?
The door opens and a CORPORAL announces:
CORPORAL
Captain Stransky.
Stransky APPEARS on the threshold.
BRANDT
Come in, Captain. You know my
adjutant, of course.
STRANSKY
Of course. How are you, Captain
Kiesel?
KIESEL
Awful. Terrible. How are you?
Brandt laughs, Places a bottle of wine on the table.
BRANDT
This might cheer you up, Kiesel.
Stransky inspects the label.
STRANSKY
My respects, Colonel Brandt.
Producing a 1937 Moselle in the southernmost corner of Russia.
BRANDT
(fills glasses)
A bottle of Moselle is no more
absurd in this region than We
ourselves. Your health, gentlemen.
KIESEL
I am not going to drink to my health.
My health is terrible and doesn't
deserve to be drunk to.
(holds up his glass)
To the end of the damn war.
STRANSKY
Incidentally, Colonel, why does our
presence in the bridgehead strike
you as so absurd?
Brandt looks at Kiesel, then turns to Stransky.
BRANDT
(ignoring the question)
Captain,
Why did you ask to be trans
ferred from France?
STRANSKY
(laughs)
Exactly what my commanding officer
in France asked me. I can't stop
you, he Said, Since I'm convinced
that without you the eastern front
would collapse in a matter of days.
Go ahead, you heroic fathead.
KIESEL
(quickly)
I withdraw my toast to the end of
the war. To heroic fatheads
everywhere.
Stransky doesn't know quite how to take this, but decides
on a faint, icy smile.
BRANDT
Captain Stransky, is there any
news on Steiner?
STRANSKY
No, sir, not yet.
Brandt shakes his head.
STRANSKY
Incidentally, What sort is he,
Steiner?
Kiesel looks at Stransky closely.
BRANDT
A problem....no respect, but a
first rate soldier so one looks
the Other Way.
Pause.
STRANSKY
(a short laugh)
0f course, I've only been on this
front a few days, matter of hours
actually, but I see -- rather I
sense -- a sort of -- well, it's not
exactly insubordination -- Well, let's
call it -- a lack of respect.
KIESEL
If I hope into a cab which gets
into an accident because the brakes
fail, I blame the driver, not the company he works for. I'll say
that he should have refused to drive
a cab with defective brakes.
STRANSKY
I'm not sure I know What you mean
by that.
KIESEL
(looks at him a moment,
then easily)
I don't intend to discuss polities.
BRANDT
(angry)
You talk avout lack of respect --
low morale..... it goes hand in hand
with impending defeat.
STRANSKY
Defeat? I refuse to admit that
possibility.
KIESEL
(dryly)
We'll, said, Captain.
STRANSKY
I don't believe that the German
soldier --
KIESEL
The German soldier!
(laughs mirthlessly)
In the early years they saw the
retreating backs of the Russians
too often to be frightened by his
face now. The replacements, on
the other hand, think every Russian is an infallible fighting machine.
I feel damn sorry for our poor land
sers.
STRANSKY
(frigidly)
In the present state of our nation,
such talk borders on treason. I
am a soldier and as such it is my
duty to subordinate my own ideas
to the interests of my country.
KIESEL
(Smiles easily as he
lifts glass)
We are still doing our duty,
Captain Stransky.
Stransky, his face white, glares at Kiesel.
The PHONE has been RINGING. Brandt picks it up with a
Snap.
BRANDT
Yes? -- What? -- Good, Meyer.
Wonderful. What sort of shape
are they in? -- I see.
(hangs up)
Lieutenant Meyer. Steiner is back.
KIESEL
Of course.
STRANSKY
Naturally, I'd like to talk to him.
I intend to promote him to Senior
Sergeant on the spot.
KIESEL
(wryly)
Most generous of you.
STRANSKY
(saluting)
If you'll excuse me.
Brandt nods. Stransky LEAVES. There is a moment's silence.
6. CLOSE SHOT BRANDT AND KIESEL
BRANDT
Well, what do you think of our
Captain?
KIESEL
(a moment's thought)
Must have the most expensive
tailor in Berlin.
BRANDT
And, of course, he won't rest until
he gets the Iron Cross.
KIESEL
(toasts)
Gets...... not earns?
Brandt, who has lifted the wine bottle, finds it empty.
BRANDT
Oh, to hell with Stransky and
the Iron Cross. And you, too,
Kiesel.
They smile at each other grimply.
DISSOLVET0:
7. LIEUTENANT MEYER
Pacing back and forth in a trench, outside of a bunker
door. Occasionally he steals a glance at a group of men
who are slumped in various indolent positions on the floor
of the trench.
8. FULL SHOT THE GROUP OF MEN
The CAMERA PANS SLOWLY from face to face. There are
nine men in the group (all will be identified later indi
visually). At the moment, all look exhausted, dirty and
somewhat disgusted. The men, with the exception of two,
PASTERNACK and ANSELM, are in the same age range (about
25 to 30). Pasternack and Anselm are younger. SCHNUR
BART is distinguished by a heavy beard. KRUGER by a
tough weather beaten visage. DORN has the look of an
intellectual. STEINER'S extreme gauntness is what catches
the eyes. His face is expressionless. The others,
MAAG, HOLLERBACH and KERN are nondescript, runofthemill
faces.
Meyer walks past the men in silence. They do not pay too
much attention to him. Several are smoking cigarettes.
Meyer looks toward the bunker. The CAMERA, following his
gaze, MOVES TOWARD the bunker.
9. INT. BUNKER LIEUTENANT TRIEBIG
is seated at the table. He is a very young, very handsome,
officer. An orderly. KEPPLER, is busy at a hot plate with
a coffee pot. He, too, is very young. After a moment --
TRIEBIG
Is it very hot? Captain Stransky
won't stand for anything but hot
coffee.
KEPPLER
It is practically scalding, sir.
TRIEBIG
Good.
KEPPLER
Is there anything else you wish,
sir?
TRIEBIG
Not at the moment.
As Keppler starts out:
TRIEBIG
Just a minute. You can keep me
company for awhile. I really
hardly know you. Sit down some
where.
Keppler looks around uncertainly. Triebig is sitting in the
one and only chair.
TRIEBIG
Sit on the bed. Are you always
so timid?
KEPPLER
(with a shaky Smile)
No.
He perches on the extreme edge of the narrow bed. Triebig studies him. Keppler's habitual expression is one of
helplessness, accentuated by a mouth he keeps permanently
slightly open.
TRIEBIG
Where do you come from?
KEPPLER
Frankfurt, sir.
TRIEBIG
Is that so? I know Frankfurt quite
well.
(sits on the cot
beside Keppler)
If you get along with me, you'll
have a good life here. You may go
now. Come to my bunker tonight
and arrange my gear.
KEPPLER
(jumping enthusiastically
to his feet)
Yes, sir. When shall I come, sir?
TRIEBIG
Don't come too early. Around ten.
We'll have a chance to talk.
Do your best and I'm sure I shall
be satisfied with you.
Keppler salutes and GOES.
10. EXT. BUNKER
as Triebig COMES OUT. The men are watching Keppler as he
WALKS OFF.
11. MED. SHOT SCHNURRBART AND ANSELM
SCHNURRBART
Not a very robust type, would you
say?
ANSELM
(the youngest of the
group)
Well, Schnurrbart, you're so excessively
masculine, it evens things up.
The CAMERA PANS to Triebig. He seems to sense what the men
are thinking. A bit disconcerted, he turns to Meyer.
TRIEBIG
(sardonically)
Do you think we can get them to
Stand at attention when the Captain
gets here?
MEYER
(grins)
I don't know, Lieutenant. I'll put
it up to them, man to man.
There is some half hearted laughter from the men. Steiner
is noticeably quiet.
SCHNURRBART
I'm not getting up till they want
my Signature On the Peace Treaty.
But he gees someone approaching, and slowly he starts to
his feet.
12. STRANSKY
approaching the trench. In the b.g. the men CAN BE SEEN
reluctantly getting to their feet. Triebig snaps to attention
as Stransky comes in.
TRIEBIG
(a Smart salute)
Captain.
Stransky, barely nodding to Triebig, looks over the men, no
discernible expression on his face. Finally --
STRANSKY
Which one is Corporal Steiner?
Steiner takes a step forward, slackly comes to attention.
Stransky studies him -- disappointed.
STRANSKY
You are Corporal Steiner?
STEINER
(almost nonchalantly)
Yes, sir.
(pause)
I am Corporal Steiner.
STRANSKY
I had formed a -- somewhat different
picture of you.
STEINER
(unconcern in his
face)
I'm sorry if I disappoint the Captain.
In the b.g. several of the men permit themselves slight
smiles, which fade immediately at a glance from Triebig.
Stransky looks at Steiner again.
STRANSKY
(loudly)
You are promoted to Senior Sergeant,
promotion to be effective at once.
He watches Steiner's face. It is as if he had spoken to
a tree. There is no surprise in Steiner's face; only a
slight flexing of his arms indicates that he has heard at
all.
STRANSKY
You heard me, Corporal -- Sergeant
Steiner.
STEINER
Yes, sir.
STRANSKY
Your promotion doesn't seem to have
made much impression upon you.
STEINER
No, sir.
There is an involuntary giggle from young Anselm. Stransky
glares and there is silence.
STRANSKY
(to Lieutenants Meyer
and Triebig)
Come in -- you, too, Sergeant.
He starts down the steps to his bunker, Meyer, Triebig and Steiner following.
13. OMITTED
14. INT. STRANSKY'S BUNKER STRANSKY
is seated behind a table. Steiner, Meyer and Triebig,
slightly to the side of him, stand facing Stransky, who
has taken out an elaborate cigarette case. He extends
it to Meyer who takes a cigarette.
MEYER
Thank you, Captain.
Stransky offers a cigarette to Steiner.
STEINER
No, thank you, Sir.
STRANSKY
(lighting his cigarette)
After what you've been through,
you don't feel the need of a cigarette?
STEINER
No at this particular moment -- sir.
STRANSKY
I'm ready for your report.
He reaches into pocket, lays sheaf of crushed papers on the
table. Stransky looks at him in amazement.
STRANSKY
I'd like to hear the gist of your
report.
STEINER
Lots of
Russians. Lots of guns.
(grimly)
We should be hearing from them very
soon.
STRANSKY
What about your platoon -- any
casualties?
STEINER
Two killed. One missing.
STRANSKY
Two killed. How?
STEINER
(dryly)
Bullets.
STRANSKY
(flushing angrily)
I deduced that. That missing man --
did you look for him, Steiner?
STEINER
(shrugs impatiently)
We had no time to lose. It would have been irresponsible to risk the
safety of the entire platoon for
the sake of one man.
STRANSKY
There ought not to be a missing man
in Such a case.
STEINER
(no expression)
Sorry, sir. I'll try to do better
next time.
STRANSKY
(grimly; after a
moment)
I have the feeling, Sergeant, that
you somewhat overestimate your
importance.
STEINER
(eyes darken; but no
change in voice)
At the moment, I am free of any
such illusions.
The two men look at each other; then Stransky's eyes fall
on the tommy gun Steiner holds in his hand.
STRANSKY
That's not a German gun.
STEINER
No, sir It's all in the report.
We surprised a Russian platoon --
and when they ran, they left
their guns.
STRANSKY
Oh, captured material. Good.
Where is your gun?
STEINER
We couldn't carry both, so we left
ours.
STRANSKY
What! You left your guns for the
Russians!
STEINER
(quietly)
Yes, sir. Our guns for the Russians.
STRANSKY
That I cannot understand. You
must be aware that the quality of
our arms is far superior to that
of the Russians and --
He stops as Steiner shakes his head. Stransky raises his eyebrows.
STRANSKY
I beg your pardon?
STEINER
...the Russian guns are better!
STRANSKY
(sharply)
That is stupid, loose talk. You
have every reason to be grateful
for the fine equipment the Father
land puts into your hands at the
cost of countless sacrifices.
STEINER
(cannot suppress a
mirthless grin)
I never asked then to put the stuff in my hands,
Meyer looks toward heaven. Stransky takes a deep breath.
MEYER
(hastily)
sir, Sergeant Steiner is greatly
in need of sleep. I'm positive
that When he --
Stransky cuts him short by turning his back in a gesture of
dismissal. Meyer motions for Steiner to follow him.
15. EXT. BUNKER THE MEN
jump to their feet as they see Steiner and Meyer.
MEYER
Be careful
he's taken strong dislike
to you.
STEINER
(wryly)
Too bad. I'm crazy about him.
MEYER
He can be trouble...
STEINER
(laconically)
I've survived many a battalion
commander. I'll survive Stransky,
too.
16. INT. BUNKER STRANSKY AND TRIEBIG
at his desk, coffee cup in hand, sipping.
STRANSKY
Dammit. This coffee is cold.
TRIEBIG
Sorry, sir. It was heated not too
long ago
There is a LOUD EXPLOSION as a shell lands nearby.
The near miss has shaken up the bunker. Lieutenant Triebig
is righting a table that has overturned. Captain Stransky,
girm faced, is dusting off his uniform.
TRIEBIG
(placing some papers
on the table; feeble
smile)
Too close for comfort, I should say,
Captain.
STRANSKY
How many more papers are there for
me to sign?
TRIEBIG
Quite a few, I'm afraid.
STRANSKY
(sitting down; crossly)
Let me have the junk.
As he glances through the papers and signs his name. Triebig
watches him with his soft eyes, the smile remaining fixed
on his face. As Stransky finishes signing he looks up,
sniffs the air, looks at Triebig rather strangely.
STRANSKY
That isn't perfume I smell -- is it?
TRIEBIG
Oh, no, Captain --
(apologetically)
Just a bit of after shave lotion.
It -- bucks me up.
STRANSKY
I see.
He fixes his gaze upon Triebig whose smile fades under the scrutiny. Then, Stransky's manner changes suddenly. He
gestures toward a chair, tries to inject a cordial note
into his voice.
STRANSKY
(offering him a
cigarette)
Where were you stationed before
you joined the battalion?
TRIEBIG
(voice softening)
In the south of France -- Bordeaux.
STRANSKY
Ah! Then being transferred must
have come hare, eh?
(voice casual)
Why were you transferred anyway?
TRIEBIG
(after a moment's
Silence)
I voluntarily applied for a transfer,
sir.
STRANSKY
(suspiciously)
How interesting.
There is mounting apprehension in Triebig's face as Stransky
regards him fixedly. Then again there is a sudden change in
Stransky's expression. Again it becomes friendly -- to Triebig's
great relief.
TRIEBIG
We lived in real mansions right On
the beach. Swimming at any hour,
day or night. It was indescribable
-- the sea, the palms, the beaches,
the people, everything --
Overwhelmed by his memories, he stops. Stransky is surprised
to see him swallow with emotion.
STRANSKY
(a knowing smile;
winks)
The women, you mean.
TRIEBIG
(raising his head�j
I beg your pardon?
STRANSKY
I said, the women. I mean -- in
referring to the people -- you meant,
of course, the women?
TRIEBIG
(shrugging)
Not so much that. I am -- that is--
(suddenly confused)
I didn't have much time to think
about women.
Pause.
STRANSKY
(casually)
Do you like soldiering?
TRIEBIG
(emphatically)
Certainly.
STRANSKY
(nods patronizingly)
I'm glad to hear that.
TRIEBIG
It's like living in an altogether
different world.
The Candle hag burned down. Stransky rises to light another.
STRANSKY
It is indeed a very different
world. A world of danger and a
world of men, a world without women.
(laughs; puffs, gets
thoughtful)
men can get along without
women. I tell you, man's truly
natural destiny is not to breed
children, but to be free, to rule
and fight -- in other words, to
lead a man's existence....
women are no more than a fancy, a superfluous dessert.
(blows a smoke ring;
looks at Triebig)
Or do you disagree?
Triebig looks at Stransky in some confusion. What is Stransky
getting at. Then he gets a grip on himself. Intertwining
his fingers, he regards his thumb thoughtfully.
TRIEBIG
I don't think I disagree, sir.
(after some
hesitation)
I think that if I have to I Can
live without women.
STRANSKY
I'm pleased to hear that.
He studies the burning tip of his cigarette; then looks up quickly.
STRANSKY
In other words, you prefer the company
of a man to that of a woman?
TRIEBIG
(greatly troubled
now)
It depends on the situation.
STRANSKY
Really?
Stransky smiles. Triebig does not reply.
STRANSKY
If it will help you, I will put
your thoughts into words for you.
(smilebroadens)
You prefer the society of men to that of women in any and all
situations.
The words hang in the silence of the bunker. Triebig re-
treats into himself like a snail sealing itself up in its
shell. He stares with mingled fear, assent and hope at
Stransky's face which still registers nothing but friendly
assent. Then, afraid silence might be interpreted as
agreement, he murmurs...
TRIEBIG
I -- don't understand, sir --
STRANSKY
(smiles confidentially)
Let's drop the hide and seek. By
God, Triebig, you don't have to
put up a front with me of all
people. What I said is true, isn't it? Say yes, man, for heaven's
sake.
TRIEBIG
(with the air of a
man wanting to stop
himself; in a bare
whisper)
Yes.
Stransky springs to his feet, directly in front of him.
STRANSKY
Speak up! You said yes. You said
yes. didn't you? Don't you dare
lie to my face.
At the sight of Stransky's enraged face, only a few inches
from his own, Triebig closes his eyes in horror. Stransky
shakes him.
TRIEBIG
(feebly)
Yes.
STRANSKY
(releasing him;
stepping back)
Stand up!
Trembling, Triebig obeys. Slowly, Stransky looks him up
and down.
STRANSKY
I can assure you of this! If
I catch you trying any of that
stuff, I'll have you hanged,
remember that! Before all the
men! Do you understand that?
Do you hear me?
Triebig is unable to answer.
STRANSKY
Now get the hell out of here and
keep out of my sight for the next
twenty-four hours. You turn my
stomach.
Triebig stands immobile.
STRANSKY
Get out!
For a second Triebig looks at Stransky's distorted face.
Then he wheels around, stumbles across the threshold I end
VANISHES. Stransky remains in the same spot for a moment,
then he fishes for a cigarette, smiles. He is satisfied
with the picture of the complete military, masculine image
he has presented.
DISSOLVETO:
Steiner walking watching men digging in, goes into
Brandt's bunker after looking up at the sky for a long moment.
17. BUNKER COL. BRANDT
The door opens and Steiner COMES IN. The scowl leaves
Brandt's face. He strides forward to meet Steiner;
presses his hand vigorously.
BRANDT
So here are you -- unpunctual and
unsoldierly as ever.
He laughs and propels Steiner toward a chair.
BRANDT
(laughs)
I read your report. It's enormously
valuable. I intend to transmit it
personally to the General -- Ah, one thing. Captain Stransky has
sent in an official complaint about
the guns. What have you to say to
that?
STEINER
(stolidly)
What can I Say? I threw away German
guns to make room for Russian guns.
BRANDT
Why?
STEINER
The Russian guns are better. I know
it. You know it. The men know it.
Captain Stransky seems somewhat in
the dark.
Brandt looks at him.
BRANDT
You're a fresh bastard, aren't
you?
STEINER
Yes, sir.
Brandt looks at Steiner and crumples Stransky's report. He
offers Steiner a cigarette.
BRANDT
Last month I offered to pull
you out of the line and give
you a staff post?
STEINER
Yes, sir --- and I remember refusing.
BRANDT
....something about your feeling of
solidarity with your men. Well --
I renew the offer. I want you on
my staff.
No answer from Steiner.
BRANDT
All right -- what's the reason for
refusing this time?
STEINER
(after a moment)
I don't want to be dependent on
anyone -- not even a regimental
commander.
BRANDT
As usual, I find it hard to under-
stand you.
STEINER
(dryly)
I'm sorry to hear that. A good
sgt. should be completely under-
stood by his superior officer.
BRANDT
Steiner! Are you laughing at me?
(getting up)
Steiner stands up and looks expectantly at Brandt, whose
mouth twitches.
BRANDT
(voice shaking)
Get out!
Steiner half salutes and leaves.
DISSOLVE TO:
18. CLOSE SHOT MAAG
in machine gun emplacement. Darkness has fallen. Maag is
looking out into the night. Suddenly, a Russian sub- machine gun OPENS UP. Maag, frightened, tries to bury his
head in the dirt.
19. MED. SHOT STEINER
walking in the darkness. At the BURST of BULLETS, he has
dropped to one knee. Now, there is silence again, and
Steiner peers cautiously into the darkness. There is
ANOTHER BURST of FIRE and Steiner stretches out flat on the
ground. Then there is silence again. Steiner gets up
quickly and bounds to the nearest machine gun emplacement
-- bumping into Maag, who is trying to get out. Another
BURST of BULLETS.
STEINER
(shouting to be
heard)
Where are you going?
MAAG
(stammering)
To -- get reinforcements.
STEINER
(angrily)
Leaving your post for that?
He pushes Maag back into the hole. They huddle together till
the Russian machine guns are quiet. Then Steiner peers
through the loophole. A few shells WHINE through the air,
EXPLODE nearby.
MAAG
(gasping)
They must be right in front of
us. In the Shell holes down
there.
Behind them there is the SOUND of RUNNING FEET and Schnurrbart
dives into the emplacement. Behind him come Kruger and
Hollerbach, and Lieutenant Meyer.
MEYER
What's happening?
STEINER
The big craters on
the slope are full of
Russians.
Meyer stands frowning for a few seconds, then:
MEYER
(to Steiner)
Signal for a barrage. Kruger --
get the rest of the company. I'll
inform the Commander.
He hurries OUT. Steiner picks up the flare gun.
Back bent, he LEAVES the emplacement.
20. MED. SHOT STEINER
as he reaches a position in the trench. He inserts the
cartridges in the flare gun. He sends up a FLARE.
21. FULL SHOT SLOPE OF HILL
ILLUMINED by the FLARE. The dark shapes of the Russians are
visible in the craters. Then there is darkness -- then once
again the landscape is ILLUMINED. The dark shapes can be
seen burrowing into the ground.
22. MED. SHOT STEINER
He is looking at his watch with bated breath. Then he smiles
grimly as a hollow roaring SOUNDS above his head. It swells
rapidly to a mighty moan and a moment later comes the heavy
detonation. Steiner turns as he HEARS hasty FOOTSTEPS.
He sees Meyer running past him toward the MG emplacement.
Steiner follows.
23. MG EMPLACEMENT
as Steiner slides IN, followed by Meyer. The men of the platoon are already assembled.
MEYER
Commander's order. The Second
Platoon is to undertake a counter-
attack at once. You are to occupy
the craters and take as many
prisoners as possible. Sergeant
Steiner, you will command. How do
you think to proceed?
STEINER
(considersbriefly)
We'll attack from three sides. Kruger
from the west, Schnurrbart from the
east and I from the south. When the
firing starts We'll need artillery
support -- to keep the Russians pinned down in the woods. I guess that's
all.
MEYER
(nodding)
Good in theory; let's hope it works
out in practice.
STEINER
(smiles grimly)
It's too simple; it'll never work.
All right -- First Platoon, down the
trench till I step you.
With bent backs, Anselm and Pasternack in the lead, the men
start down the trench.
24. TRUCK SHOT THE MEN
as with bent backs and faces taut with tension they proceed
down the trench. The CLATTER of weapons persists.
The men stop, look at each other -- some with frightened grins.
ANSELM
(With a nervous
laugh)
Sergeant -- could I go make a
telephone call?
A titter, totally Without mirth, runs through the men.
STEINER
(to Kruger)
You and your boys stay here.
Steiner raises his arm. The rest of the men follow him.
25. SPOT FURTHER DOWN TRENCH
as Steiner and the men come INTO VIEW. Steiner raises his
hand in a signal to halt. Then he peers over the trench,
lifts himself over, gives the signal for the men to follow.
26. SLOPE OF HILL
We SEE the shadowy figures of Steiner and the men descending
the slope. When they reach the level field Steiner again
gives the signal to halt.
STEINER
(to Schnurrbart)
You wait here. Attack in exactly
five minutes --
Schnurrbart looks at his watch.
STEINER
As soon as the first shots are fired,
we'll come in. Clear?
SCHNURRBART
(grunting)
All Clear.
He shakes hands with Steiner, who walks into the darkness
followed by Kern, Anselm and Pasternack.
27. TRUCK - STEINER AND MEN
trudging toward a clump of woods. Suddenly, Steiner drops
to the ground.
28. CLOSE SHOT - STEINER ON GROUND
The other men have wordlessly followed his example. Anselm,
crawling on his belly, comes INTO THE SCENE.
ANSELM
(whispering)
What's wrong?
Steiner points his head leftward. Anselm follows his gaze.
29. LONG SHOTA COLUMN OF DIM FORMS
moving cautiously through the darkness. They are no more
than twenty yards away.
30. STEINER AND MEN
ANSELM
Russkis! At least a hundred of them!
Steiner is hesitant.
STEINER
How many men has Schnurrbart got --
a dozen? They'll run right over
them.
ANSELM
Why don't we fire on them now?
STEINER
That may louse up the whole counter-
attack.
(bites his lips as
he thinks hard)
Schnurrbart probably won't even
see them coming --
He reaches into his belt for flares.
STEINER
A couple of flares -- and Schnurrbart
can see he's getting visitors --
Then if we start shooting up
their rear --
(shrugs)
Maybe, the confusion --
He sends up two flares in quick succession.
31. LONG SHOT - THE RUSSIAN COLUMN
is taken by surprise. SHOTS RING OUT, several fall.
32. MED. SHOT - STEINER AND HIS MEN
STEINER
All right -- after them. Stick close
together and don't save on hand
grenades.
(ironically)
Remember, the eyes of the entire
German nation are upon you.
He runs in the direction of the Russians, the men following.
33. EXT. CAPTAIN STRANSKY'S BUNKER
The air is crackling with the SOUND of GUNFIRE and heavy
EXPLOSIONS. Captain Stransky comes running OUT of the
bunker, followed by Lieutenant Triebig. A Private comes
running INTO the SCENE from the opposite direction.
PRIVATE
Word from Corporal Schnurrbart,
sir. The Russians have broken
into the trenches.
Triebig looks alarmed.
STRANSKY
(to Triebig)
Take up positions in front of the bunker with all the men attached
to staff. I'll phone the combat
train.
He turns and runs hack INTO the bunker.
34. CLOSE SHOT - STEINER AND ANSELM
manning a machine gun. They are lying on the slope FIRING
toward the trenches.
ANSELM
We've mowing them down.
STEINER
Who? Ours or theirs?
35. EXT. 2ND. PLATOON'S BUNKER
There is the SOUND of faraway BURSTS of machine gun fire.
Hollerbach and Kern are helping Anselm who is limping
badly. Behind them are Dorn and Kruger. All look weary
and begrimed.
36. INT. BUNKER
as they come IN.
KERN
(to Anselm)
You're a damn fool not to go to
the Field Hospital --
ANSELM
(sinking to the floor)
I'll wait until the holiday rush
is over. Otherwise, they're
just as likely to amputate as not.
HOLLERBACH
Does anybody still have any idea
what the hell went on?
DORN
(who seems dazed)
--- confusion --- confusion --
ANSELM
I couldn't see anything. When
something moved I fired at it.
Probably got as many Germans as
Russians.
HOLLERBACH
Shut up!
ANSELM
Please -- a little respect for a
wounded man.
Steiner comes IN. He has a bandage on top of his head.
STEINER
Kruger, what happened to you at the
signal?
KRUGER
I was Clearing Out the craters --
then I heard the firing from your
direction --
STEINER
I was wondering if you were waiting
for a formal invitation.
KRUGER
You know what you can do with your
fuckin' sarcasm. I saved your ass.
STEINER
Oh, did you? Well, you know what
You can do with my --
37. MED. SHOT. AT ENTRANCE TO BUNKER
as Stransky and Triebig come IN. The men start to come to
attention.
STRANSKY
(curtly)
At ease.
(to Steiner)
That was a bad business. You know
half of 2nd Company was put out of
action?
STEINER
Yes, Sir. Our platoon was hit, too.
STRANSKY
Why didn't the plan go according to
schedule?
KRUGER
We didn't think that --
68. CLOSE SHOT - STEINER
He is now close enough to the beach to stand. He takes an uncertain step or two to stand, then he falls, his face
down in the water. He makes no effort to rise -- allowing
himself to slide deeper and deeper into the water. Suddenly
Gertrud's hands come INTO THE SCENE, grip Steiner's feet,
pull him back.
69. MED. SHOT - GERTRUD AND STEINER
Struggling for breath, he lies on the ground.
Steiner turns over on his back and looks at her. There is
rage and shame on his face. The blood starts streaming down
his face again. He tries to sit up. She tries to support
him and he knocks her arm back.
STEINER
If you don't leave me alone I'll
smash --
He stands up, takes a few steps to meet the incoming surf,
bends, scoops up a handful of water, washes the blood from his face.
Then he turns and sees that Gertrud has retreated a few feet
up the beach, and stands watching him. The wind is blowing
her skirt close to her thighs.
He looks at her a moment, then, CAMERA TRUCKING with him, he
makes his way to her side. Gertrud looks at him steadily.
Suddenly he seizes her. She struggles, wordlessly. Steiner
forces her to the ground. With one swift movement he pulls
her blouse from off one shoulder.
70. CLOSE SHOT - STEINER AND GERTRUD
She has stopped struggling. His face is close to hers.
There is no resistance in her expression, but neither is
there compliance. She looks steadily into his eyes as
if there is a battle of wills. Roughly Steiner grabs her
shoulders. Suddenly, he releases her, stands up. He
watches her as she slowly sits up, rearranging her clothing.
He stares at her without Speaking. Then --
STEINER
(in a low voice)
Why did you follow me?
She doesn't answer. He shakes his head slightly.
STEINER
Nurse Gertrud.
keep your humanitarian
paws off drunken men. It might be
misunderstood.
GERTRUD
(breathing heavily)
You'reinsane.
STEINER
(laughs harshly)
We are all insane.
(he makes a tiny,
mocking bow)
goodnight.
He walks toward the blackness of the garden. Gertrud turns
to watch him until He is no longer in sight.
DISSOLVE TO:
71. HALL - REST HOME - STEINER
has just reached his bedroom door He is about to go in,
when he stops, hesitates. Then he walks slowly to the next
door, leans forward, listening. He glances up and down the
hall, then Slowly depresses the latch.
72. INT. DARK BEDROOM
A streak of LIGHT coming through a space afforded by the
blowing curtains. As Steiner COMES IN, we SEE Inge's shape
sitting up in bed.
INGE
Who's there?
STEINER
(Closing the door
behind him)
Three guesses.
Inge, her long nightgown trailing around her ankles, approaches
him in the darkness.
INGE
Leave my room at once.
STEINER
Out of character, but very nicely
said. Don't worry; I just wanted to
ask you if you have any aspirin.
Inge comes two steps Closer, looks at him. She hesitates.
As she turns toward the door, he grips her shoulders and
holds her tightly.
STEINER
Were you going to turn on the light?
INGE
Yes.
STEINER
(feeling along her
arms)
You don't need any light, take my
word for it.
Pretending to struggle, she manipulates the nightgown off her
right shoulder, a maneuver not lost upon Steiner.
INGE
Let me go. I'll scream. I will
scream.
STEINER
Naturally, you'll scream.
She closes her arms tight around his shoulders. When she
tries to kiss him he turns his face aside. He picks her
up and as he carries her toward the bed:
DISSOLVE TO:
73. LONG SHOT - SUNRISE
framed in a window. CAMERA PULLS BACK to the interior of
Inge's bedroom. Inge is lying in bed. Steiner is sitting
on the edge of the bed, his back to Inge, looking out the
window.
STEINER
Funny -- you boasted about your view
of the sunset. I prefer the sunrise.
Inge laughs. She sits up, throws her arms around his chest.
INGE
You know -- never once last night did
you say my name.
(strokes his chest)
Don't you like my name?
STEINER
Why shouldn't I like it?
STEINER
Up to this moment I've never met a
girl named Inge. At least not in
bed.
Inge laughs. When Steiner makes a move to get up, she holds
him tighter.
INGE
Where are you going?
He pulls himself loose, walks to where his shoes lying,
picks then up. Inge, blanket up under her chin, watches him.
He turns.
STEINER
Goodnight.
INGE
(angrily)
Aren't you at least going to kiss me?
He stoops and casually kisses her shoulder.
INGE
Is that all?
STEINER
Isn't it enough? Do you want to
get paid?
She starts up as though the pillow behind her had become a
hot iron. Then she throws herself face down on the bed,
begins to sob wildly. Steiner stands for a moment,
looking at her in embarrassment and some remorse.
STEINER
(sadly)
Depend on me to say a few words
to many.
He walks slowly to the door, closes it behind him.
74. DELETED.
75. MED. SHOT - GERTRUD
who has just COME IN and is talking to a MAN at the bar.
76. MED. SHOT - STEINER
He sinks back into his seat, looks off at Gertrud. Then
he rises and, CAMERA TRUCKING with him, winds his way
across the floor to her. Her back is to him.
STEINER
(quietly)
Gertrud --
She turns, flushes as she sees him, but doesn't say a word.
STEINER
I wish -- I were meeting you for the first time now.
GERTRUD
(looks at him)
I suppose that's as close to an
apology as you, Can ever get --
If you'll excuse me....
He makes a gesture to stop her, but she brushes past him.
We hear Klaus' voice.
KLAUS' VOICE
Rolf --
Steiner turns to face Klaus.
KLAUS
She's here --!
STEINER
(Pre-occupied)
Who?
KLAUS
You know -- Ilse -- the Iron Cross Tits --
STEINER
Listen I don't want --
He has turned automatically to look toward the corner of
the bar. At the sight of the GIRL in the nurse's white
uniform, Steiner's speech stops; his eyes narrow.
77. CLOSE SHOT ILSE
She is looking toward Steiner, an expectant smile on her
face. She is very buxom and very pretty in a coarse way.
78.MED. SHOT. STEINER AND KLAUS
Steiner's face is expressionless. CAMERA TRUCKING with
him, he makes his way to the Waiting Ilse. En route he
passes Gertrud who, struck by the grimness of Steiner's
expression, keeps her eyes on him as he pushes toward Ilse.
79. MED. SHOT - ILSE
Her smile freezes as Steiner STEPS INTO the SCENE.
STEINER
(steadily)
Good evening, Ilse.
She can only stare at him.
STEINER
I can't blame you, Ilse. After all,
it's been -- how long --? More than
a year anyway. Yes, thirteen months --
ILSE
(in a very low voice)
Rolf --
STEINER
-- and the law of averages -- What
right have I to be alive -- Did
you count on that, Ilse?
Suddenly, Ilse lets out a sob, covers her face with her hands,
then turns and runs toward the exit. Klaus, who has stood a
few paces behind, comes up to Steiner.
KLAUS
I must say -- it's a strange effect
you have upon women.
Steiner doesn't answer. Klaus shakes his head, goes after
Ilse.
80. MED. SHOT - GERTRUD
Whose eyes haven't left Steiner. She watches him now as he
sits down at an unoccupied table. From his inside pocket
he takes out a piece of paper. She sees him flag a passing
WAITER. A brief conversation ensues between them, and the
Waiter lends Steiner a pencil. As Steiner begins to write,
Gertrud moves slowly toward him.
81. MED. SHOT - STEINER AT TABLE WRITING
As Gertrud's shadow falls across the table he looks up
briefly, goes back to his writing. Without a word, Gertrud
slips into a chair across from Steiner. After a moment, he
finishes writing, looks at Gertrud.
STEINER
I imagine you want to know what it's
all about?
GERTRUD
No.
STEINER
Be honest.
GERTRUD
Yes, I do. Very much.
Pause.
STEINER
It's not too pretty a story -- and it isn't very chivalrous of me to tell
it. But, then, one of the first
casualties of the war was chivalry --
(looks at the slip of paper)
A year or so ago I was in a hospital.
In four years of war I have been in
four hospitals.
(harshlaugh)
Some day I must get around to rating
them. Anyway -- Ilse -- Miss Bauman --
decided she would be more than a
nurse to me. After three days and
three nights I told her to be more
than a nurse to somebody else.
(looks at Gertrud's face)
He is silent a moment, his face reflecting the humiliation.
STEINER
She found a way to get even -- result --
Court martial -- degraded -- Six months
in a Penal Battalion --
(pause. Holds up the paper)
Now, I in tend to have Miss Bauman's
signed confession --
GERTRUD
Please -- don't be brutal to her --
He gets up.
She looks at him in mute appeal. He shakes his head,
Starts out, Gertrud looking after him.
He gets up.
She looks at him in mute appeal. He shakes his head, starts
out, Gertrud looking after him.
82. MED. SHOT - BENCH ON BEACH - FACING THE WATER
On a corner of the bench, Ilse is huddled, still sobbing.
In the b.g. a figure looms. Then a flashlight, in the
hand of the figure is snapped on. Its beam ILLUMINATES
Ilse, who doesn't move. The figure, holding the flashlight,
moves closer, and we SEE that it is Steiner. Now he stands
beside Ilse, who does not look up.
ILSE
Turn it out -- I can't see.
Steiner snaps off the light. She looks up at him, her face
a study in fury.
ILSE
You Stinking louse.
STEINER
(laughs grimly)
I that What I am?
ILSE
(violently)
Yes. And you always were a louse.
You never knew how to treat a
woman.
STEINER
How right you are. And now, let
me prove your point --
(takes Out the
Slip Of paper)
-- Sign this.
ILSE
What is it?
STEINER
Your confession.
ILSE
Confession. What have I to confess?
STEINER
Oh -- are we going to play games?
All right, I'll read it to you --
(snaps on the
flashlight,
starts to read)
On the night of May 12, 1943, I, Ilse
Bauman, a nurse at the 2nd Base
Hospital in Rostov, stole a wrist-
watch from the room of Corporal
Karl Wachtel, an amputee, and
furthermore, hid the watch among
the belongings of -- Sgt. Rolf Steiner.
Suddenly, Ilse jumps to her feet, starts to run, knocking
the flashlight from Steiner's hands. But Steiner catches
her in two strides. She kicks him and pummels him with her fists. Steiner drags her down to the water, wades in knee
deep and thrusts her head under.
83. MED. SHOT - STEINER
holding Ilse's head under water. Then he pulls her up by
the hair.
STEINER
Will you sign now?
She coughs and struggles for breath. He picks her up in his
arms, carries her back to the bench, dumps her on it uncere-
moniously. He picks up the pencil and paper and the flash-
light. He flashes the LIGHT on her face. Water is dripping
from her hair down her forehead and onto her hands.
STEINER
Maybe in bed you could cry your way
out, but not here.
He thrusts the pencil into her hand. He flashes the LIGHT on the bench so that Ilse can see. With trembling hands,
she signs the paper. Steiner switches off the flashlight.
STEINER
(looking at paper)
All right -- you may go now.
She doesn't stir.
STEINER
(repeats sharply)
You may go now.
Unsteadily, she gets to her feet, looks at him.
ILSE
(tonelessly)
You're going to report me.
He nods grimly.
ILSE
Oh, God. Oh, God, what am I going to do?
He shrugs. Slowly she walks away, her wet skirt clinging
to her legs, head bowed, shoulders twitching.
84. CLOSE SHOT - STEINER
watching Ilse go. There is no pity in his face. Then, he
sits on the bench, examines the paper closely. He is deep
in thought when there is the SOUND of SOFT FOOTSTEPS in the
sand. Steiner looks up, Gertrud stands beside him.
GERTRUD
(quietly)
So you have what you want?
Steiner nods his head slowly, looks at the paper again. Then
he gets up, walks to the water's edge. For a moment, he
hesitates, then he tears the paper into tiny scraps, tosses
them into the water. Gertrud comes INTO the SCENE, stands at Steiner's side. Together they watch the scraps being
carried out on the waves, dancing and scattering until they
vanish from sight. There is a moment's silence, broken by
Gertrud.
GERTRUD
Why?
STEINER
(shrugs; then, slowly)
I'm not interested anymore
in clearing my name. Doesn't matter.....
He starts away.
GERTRUD
Rolf--
He stops, turns, looks at Gertrud.
85. CLOSE SHOT - GERTRUD
as she looks steadily toward Steiner.
86. MED. SHOT - STEINER AND GERTRUD
He walks to her. Without a word he takes her in his arms.
They cling to each other.
DISSOLVETO:
87. MED. SHOT - NIGHT - CREST OF HILL - GERTRUD AND STEINER
Gertrud, her knees drawn up, sits facing the sea. Steiner
sits at right angle to Gertrud, his head resting on her
shoulder, as he reads a letter:
STEINER
"-- Well, here I am, back in dear old
Mother Russia, after six weeks in
the hospital. Why did no one eyer
tell me before about the pleasures
of being wounded?
That nice, clean hospital -- the food
-- those nurses -- rather, that one nurse in particular. But why am I
telling you. Every hospital, I hear
has that one particular specimen... "
He turns his head to look at Gertrud. They smile at each
other. Then he resumes reading.
STEINER
Anyway -- "At the moment things are
quiet here, so you can be sure the
Russkis are preparing something
big. I suppose you heard that Dorn
got it. We had finally persuaded
the professor to put in for Officers
Training, and the very next day the
Russkis lobbed over a few shells
to let us know they're still in
business --"
He stops reading. Gertrud looks at him.
GERTRUD
Bad you heard of it?
STEINER
No.
GERTRUD
Were you fond of him?
STEINER
The professor? I don't know -- not
particularly, I guess.
(reflects a moment)
He was a good soldier. Did his
job.
(pause)
I'm sorry he's gone.
(back to letter)
"Well, to get on to more cheerful
news. Our darling Captain Stransky
is in some sort of trouble --"
(looks up from
letter)
Him -- I can be more definite about.
(resumes reading)
"Seems in the Captain's report on
the Russian action, the night we
got it, he somewhat overplayed his
hand. His report, I hear, pictures
Stransky, accompanied by Triebig,
appearing at the last moment among
his fleeing men, stemming the panic,
and leading the counterattack --"
(pauses)
A damned lie!
(back to letter)
"From what I hear, Stransky sat out
the engagement in his bunker. Colonel
Brandt informed Stransky that he
was entitled to the Iron Cross First
Class for bis actions, but he also
pointed out that two witnesses were
required. Triebig, that sweet-
smelling skunk, naturally signed,
but the signature of the Company
Commander was also needed. Since
Lieutenant Meyer was killed and
you were then in charge, it looks
like you're elected. We can't wait
until you get back and are asked to sign. So, don't linger by the
wayside. Hurry back and join the
fun. Keep well and watch out that
they don't pick you up and stick
you in some other unit. Things
are supposed to be pretty hot
on the main front. All the best,
your old friend, Schnurrbart."
Steiner looks out at the sea. After a moment...
GERTRUD
You don't want to go back do you?
STEINER
(Pause)
Not now.
GERTRUD
(trying to sound cheerful)
In the morning you're going
home for a month. I know it
sounds crazy -- out maybe in a
month it'll all be over.
STEINER
It'll never be over. Not for me.
He falls silent. The POUNDING of the SURF can be HEARD.
Gertrud stretches her hand out to Steiner.
GERTRUD
Rolf -- sit beside me.
He takes her outstretched hand, sits beside her, rests
his head on her breast. She puts her arm around him.
He lies quietly for a moment, then lifts his face to kiss
her.
GERTRUD
No, darling -- later -- later -- later --
Her arms around him, she is rocking him almost like a
child as we:
DISSOLVETO:
88. FULL SHOT - STREET - DAY
There are two fleets of army trucks lined up. On one
side of the street the trucks face west; on the opposite
side they face east. SOLDIERS are boarding both fleets
of trucks.
89. MED. SHOT - SERGEANT MULLER - IN THE MIDDLE OF THE STREET
He calls out to a soldier who is walking hesitantly to-
ward the trucks facing west.
MULLER
You there -- let me see your orders.
The soldier hands his orders to Muller, who looks at then.
MULLER
Where do you think you are going?
(with sadistic glee)
These trucks are going home. You
belong there --
(Pointing to east-
bound trucks)
You're going to the front!
(pointing to west-
bound trucks)
Lucky ones there!
(waves to east bound trucks)
Unlucky ones there!
(laughs again)
90. MED. SHOT - STEINER
standing outside the rest home, near the parked trucks. He
is looking up and down the street -- evidently waiting for
Someone. Muller, who CAN BE SEEN in the b.g. , calls out --
MULLER
Steiner--! Get into your truck.
It's ready to move!
91. MED. SHOT - MULLER
as Steiner walks slowly up to him.
MULLER
What's wrong, Sergeant? For one
of the lucky ones, you sure don't
seem anxious to go.
Steiner doesn't even look at Muller who evidently sees someone
at the west trucks.
MULLER
Hey, you there -- let me see your
Orders --
He runs off, almost colliding with Inge. She looks complacent.
INGE
Goodbye, Sergeant Steiner.
STEINER
I'm touched. Up this early just
to say goodbye to me. Or are you
waiting to welcome the new batch
coming in?
INGE
No. I just thought somebody
should say goodbye to you.
(smiles as Steiner looks
at her)
Gertrud is not coming, Sergeant.
He stares at her. She takes ah envelope out of her pocket.
INGE
This is for you.
As he snatches it out of her hand.....
INGE
That's all right. I've already
read it.
STEINER
You're a pig.
(looks at the envelope, but
doesn't open it)
INGE
I'll be happy to read it to you.
She takes the envelope from him. He just stands there,
neither objecting nor assenting. Inge's tone, as she
reads, is not as triumphantly smug as might have been
expected.
INGE
(reads)
"Dearest Rolf -- I can't face you
this morning. How can you and
I know what we feel for each
other? We hate so quickly and
easily, maybe we fall in love
too quickly and easily, too.
There are things I even needed
to tell you about.....
Steiner snatches the letter from Inge. crumples it in
his hand. His face is his usual steel mask again.
He stands still for a moment, then the SOUND of the trucks
MOTORS causes him to look up. The trucks bound for the
front have started slowly off. Steiner looks at the
crumpled letter in his hand, throws it away, runs for the
trucks.
92. MED. SHOT - MULLER
as Steiner runs past him. He stares in amazement as
Steiner jumps onto the back of the last truck heading east.
MULLER
(almost screaming)
No! No! Steiner -- wrong truck!
You're going home. That one's
going to the front! Steiner --
Steiner -- !
But in the b.g. the truck has disappeared around the corner.
FADE OUT:
FADE IN :
93. LONG SHOT - ROAD SKIRTING A ROW OF BUNKERS - DAY
A truck is seen coming to a stop. A lone figure jumps off the
back, waves to the driver. The truck drives on.
94. MED. SHOT - STEINER
standing in the road, looking about him with some curiosity.
Then, CAMERA TRUCKING with him, he starts to walk. He
passes several SOLDIERS. We can tell by the cursory glances
they exchange that they are strangers to each other.
Steiner enters the bunker.
95. LIEUTENANT TRIEBIG
rounding a corner near the bunker. He HEARS SHOUTS from the
bunker and stops. Then he HEARS a half dozen voices CRYING
in unison, "Steiner! Steiner! Steiner!" Triebig's face
sets. He stands a moment, immobile, then turns, hurries
away in the opposite direction.
96. INT. BUNKER
Kruger, Kern, Schnurrbart and Anselm are grouped around
Steiner. A NEWCOMER stands off to the side a bit. Steiner
is opening a beer bottle.
KRUGER
You're an idiot, Rolf. Why didn't you go home when you could have?
STEINER
(stony-faced)
Heard it was safer here.
KERN
(nodding)
I was home for two weeks.
THE NEWCOMER
(angrily)
I wish this kind of talk would stop.
It's -- it's gross exaggeration -- and
what's more, it has a terrible effect
on the morale of the troops at the
front!
Everyone turns to look at the newcomer. Steiner regards him
coolly.
STEINER
What's your name?
ZOLL
(defiantly)
Zoll.
STEINER
Thank you, Herr Zoll for worrying
about my morale.
The men laugh.
SCHNURRBART
Zoll is a Party member. He's con-
vinced we're winning the war, and
anybody who doesn't think so, he's
quite willing to turn in to the
Storm Troops.
STEINER
(to Zoll)
My name is Rolf Steiner -- and please
memorize my correct serial number.
I wouldn't want them to come for
the wrong man.
The PHONE RINGS. Zoll answers it.
ZOLL
(very snappy)
Second Platoon. Zoll speaking.
STEINER
God, isn't it wonderful hearing a
real soldier speaking again.
ZOLL
(through the men's
laughter)
Yes, sir -- yes, sir --
(hangs up, turns
to Steiner
Captain Stransky wants to see you
in his bunker.
STEINER
When?
ZOLL
Right away.
STEINER
Good. I missed my Captain Stransky.
97. CLOSE SHOT - STRANSKY'S FACE
The CAMERA PULLS BACK and we SEE that we are in what is
evidently Stransky's bunker. Triebig is facing Stransky.
It is now dark.
STRANSKY
I'll soften him up, don't worry.
How long have we kept him waiting?
TRIEBIG
About half an hour.
STRANSKY
All right. Send him in.
Triebig, still looking worried, goes OUT. Stransky stands
for a moment, moves another chair to the table, then sits
opposite it. The door opens and Steiner comes IN. He looks
at Stransky, his face devoid of expression.
98. MED. SHOT - STRANSKY - AT TABLE
with Steiner in b.g. Stransky's demeanor is carefully
matter-of-fact.
STRANSKY
Welcome back, Sergeant. Please sit
down.
(impatiently, as
Steiner remains
standing)
You may sit down.
STEINER
If you order me to.
STRANSKY
Consider it an order.
Reluctantly, Steiner sits down facing Stransky, who moves the
kerosene lamp so that he himself is sitting in darkness.
STRANSKY
Are you quite recovered from your
wound?
STEINER
Quite.
STRANSKY
Good. Now that you're back, I'm willing to make a fresh start.
I excuse your past behavior. There
are several important matters I
wish to discuss with you.
STEINER
(his face shows that
he knows what Stransky
has in mind l there is
a pause before he
speaks)
Certain things can be talked about
only man to man, not superior to
subordinate.
STRANSKY
(an attempt at a smile)
You would naturally think that.
But, you know, don't you, that
in civilian life, too, a distinction
is made between people and personalities?
For a fleeting moment Steiner's expression darkens, but he
quickly composes his features. His tone is ingenuous.
STEINER
I don't. But I'm'sure you can
explain that distinction to me.
STRANSKY
(smoothly)
I can. The difference is a matter
of ethical and intellectual super-
iority and is caused, whether you
like it or not, by class difference.
Those who are reared in dirt will
never or rarely emerge from it because they have never learned
to see dirt as dirt. Isn't that
self - evident?
STEINER
(swiftly and quietly)
I disagree. Talent, sensitivity
and character are not privileges
of the upper class.
STRANSKY
(voice less urbane)
I see. May I ask which of the
two categories you count yourself?
It is an open challenge. Steiner sits up in his seat.
STEINER
Is this conversation taking place
between two equal human beings, or between a superior and his sub-
ordinate?
STRANSKY
(haughtily)
I see no reason to throw the weight
of my rank into the balance.
STEINER
(quietly)
In that case, I am free not to
answer your tactless question.
There is e silence as fury mounts in Stransky's eyes, but
he controls his voice.
STRANSKY
You are forgetting yourself, Steiner.
STEINER
(coldly)
If you feel insecure about standing
on your grounds of equality, we
can easily go back to our regular
relationship.
STRANSKY
(looks at his hands,
speaks softly)
Your impertinence can only come from
stupidity -- and digging holes.
(stands up brusquely
and paces the room
several times be-
fore he comes to a
stop in front of
Steiner)
I have met more than one person of your type -- and I have always crushed
them like vermin. I consider you
nothing more than an insolent lout
who cannot keep his hands off his
comrades' property.
99. CLOSE SHOT - STEINER
as he stands up slowly. He makes a visible effort to
control himself.
STEINER
(voice steady and
quiet)
You'll regret that.
100. MED. SHOT - STRANSKY AND STEINER
Steiner wipes his sleeve with his right hand.
STRANSKY
For that remark alone, back home
I would have had dogs chase you
over the fields until your feet
were bleeding straps.
STEINER
We're not back home.
STRANSKY
You'll wish you were before long.
(turns his back on
Steiner, picks up
the phone)
Triebig? Come in here!
He hangs up, turns, sees that Steiner is leaning easily
against the wall.
STRANSKY
Stand at attention!
Steiner takes a half step forward, lets his arms dangle.
The door opens and Triebig COMES IN.
STRANSKY
How far has my new bunker progressed?
TRIEBIG
About a foot and a half.
STRANSKY
The bunker is to be ten feet deep.
Sergeant Steiner will work on it
tonight until that depth is reached.
TRIEBIG
(astonished)
Tonight?
STRANSKY
Tonight. I shall hold your respon-
sible for having that bunker ready by tomorrow morning.
TRIEBIG
Yes, sir.
Steiner has listened with an impassive face. Now, without
change of expression, he holds the door open for Triebig,
then he turns to look at Stransky. without a word, he
GOES OUT.
101. EXT. BUNKER- TRUCK SHOT - TRIEBIG AND STEINER
as they walk toward the spot (seen in b.g.) where the new
bunker is being dug. They walk in silence a moment.
TRIEBIG
I want you to know I have nothing
to do with this business.
STEINER
That's lucky for you.
(pause)
Where's your "friend"?
TRIEBIG
(looking straight
ahead)
He's dead.
STEINER
Oh -- too bad.
(sardonically)
Well -- bear up. Fresh recruits are
coming in every day.
Triebig looks at him and his voice shakes with hatred.
TRIEBIG
I have only one wish, and the
Commander shares it. We could
court martial you or get rid of
you some other way. But we want to have the pleasure of seeing
you -- croak.
STEINER
(smiles)
You'll have to take very good care
of yourself if you want to outlive
me.
Triebig clenches his fists in helpless fury.
TRIEBIG
Thank you for the warning.
STEINER
You're entirely welcome.
By this time they have reached the pit where four men are
digging.
TRIEBIG
(to the men)
Ail right -- you're relieved. You
may return to your quarters.
The men, seeing only Steiner with Triebig, don't quite
comprehend.
TRIEBIG
(shouting)
I said you may return to your
quarters!
The men hastily drop their shovels, clamber out of the pit,
and walk AWAY. They keep looking back at Triebig and
Steiner, still not certain of what's going on. Triebig
turns to Steiner.
TRIEBIG
If I were you, I'd make sure it
was done by morning.
STEINER
It won't be for lack of trying,
sir.
Triebig glowers at him, walks AWAY. Steiner jumps into
the pit, starts to shovel. The CAMERA notes that Steiner
is up to his kneecaps in the pit.
DISSOLVE TO:
102. CLOSE SHOT - PAIR OF MUDDY BOOTS
The CAMERA PANS UP from the boots to Steiner's face.
Steiner is asleep in a chair, his feet stretched out.
The scene is the outer room of Brandt's command post.
After a moment, the inner door opens and Kiesel and
Triebig COME OUT.
KIESEL
You'll wait here, Lieutenant.
Triebig nods nervously, Kiesel looks at Steiner, shakes
his head.
KIESEL
Steiner!
Steiner opens his eyes, stumbles to his feet, straightens
up. Kiesel holds the door open. Steiner looks at Triebig,
then walks IN.
103. INT. BRANDT'S ROOM
Brandt is sitting behind a huge, clumsy desk piles with
all sorts of useless objects. He holds a lighted cigarette
between his fingers. Steiner and Kiesel COME IN.
BRANDT
So there you are. Next time you're
wounded, give me a week's notice
that we're going to lose you, ha,
ha. How are you, Steiner?
STEINER
I can't complain.
Brandt stands up, shakes hands heartily, then gestures
toward chair.
BRANDT
Make yourself comfortable.
(extends cigarette
case to Steiner)
How was it in the hospital?
STEINER
(laconically)
Pretty good.
BRANDT
And the Rest Home?
STEINER
I recommend it.
BRANDT
(laughs, then, casually)
That night you were wounded -- did
you know that Captain Stransky
led the Second Company's counter-
attack?
STEINER
That's what they tell me.
BRANDT
Is it true?
STEINER
The counterattack was led by
Lieutenant Meyer. Captain Stransky
was nowhere in sight.
Brandt and Kiesel exchange glances.
KIESEL
Are you sure of that?
STEINER
Absolutely. In the first place,
I would have seen him, and in the
second place, Lieutenant Meyer had
to report to the Captain what had
been happening in the lines.
KIESEL
How do you know that?
STEINER
I was there when Lieutenant Meyer
phoned.
BRANDT
A-ha!
(sharply, to Kiesel)
Fetch Triebig.
Kiesel GOES OUT.
BRANDT
(grimly)
I think you're entitled to a little
fun.
104. MED. SHOT -AT DOOR
as it opens and Triebig and Kiesel COME IN. Triebig looks
very worried. For a moment, Brandt just looks at Triebig
who bites his lip. Finally, Brandt speaks. His voice is
unusually soft and low.
BRANDT
You signed your Captain's report,
Lieutenant Triebig. Were you
present when Captain Stransky
led the counterattack?
TRIEBIG
(after a notice-
able hesitation)
I accompanied the commander to the
hill and saw him calling several
men around him. Then he sent me
back to the command post.
BRANDT
Then how do you know that Stransky
really led the counterattack? You
signed a statement to that effect,
Lieutenant Triebig.
TRIEBIG
I -- I learned of it from wounded
men who were returning.
BRANDT
Can you give me the name of one
of these wounded men?
TRIEBIG
They weren't staff men -- just company
men. I -- I knew them only by sight.
Besides, it was pitch dark when I
spoke to them.
BRANDT
(icily)
I want you to know, Lieutenant
Triebig, that I have had your
statements checked. Captain
Kiesel will inform you of the
results of our investigation.
Steiner watches closely as Kiesel takes a sheet of paper
out of his pocket, studies its contents for a moment.
KIESEL
(placidly)
Our investigation so far has disclosed that at the moment
there are forty-two men in 2nd
Company who took part in that
counterattack. They declare
Unanimously that the attack was
led by Lieutenant Meyer. None
of them saw Captain Stransky, and
none of them heard that he was
even with the company.
Brandt turns to Triebig, who looks ds if he were standing
against a wall watching an execution squad line up in front
of him.
BRANDT
To my mind, there is nothing more
contemptible than snatching the
laurels that properly belong to a man who died in action. I shall
abide by Sergeant Steiner's testimony.
If he stands by his statement that
Captain Stransky was not with the
company, I shall be compelled to
institute disciplinary proceedings
against the Captain. You may go
now. You are no longer needed
here.
TRIEBIG
Yes, sir.
He doesn't look at Steiner as he LEAVES the room.
105. MED. SHOT - BRANDT, KIESEL AND STEINER
BRANDT
(to Steiner)
Very well. Do you stand by your statement?
To Brandt's surprise, Steiner doesn't answer immediately.
Then, after some hesitation:
STEINER
Would it be possible for me to
think it over for a few days?
BRANDT
(anger and disappoint-
ment in his voice)
Think it over? What is there to
think over? Did you see Stransky
or not?
Steiner doesn't answer.
BRANDT
I don't understand you. Are you
a friend of Stransky's? My im- pression is that you wish him
in hell.
STEINER
My differences with Captain Stransky
are a private matter.
BRANDT
(losing patience)
Oh, they are? Why were you
ordered to dig Stransky's bunker
tonight?
Steiner compresses his lips.
BRANDT
I asked you something!
Steiner looks up, their eyes meet.
STEINER
Do you want to hear lies?
BRANDT
(leaning forward)
Do you know that Stransky intends
to recommend disciplining you?
STEINER
(a growl)
If I were he, I wouldn't lose a
minute about it.
BRANDT
(to Kiesel)
I really think I should place a
guard over him and have him dig
holes until he's blue in the
face.
KIESEL
(shrugs)
Why try to revise the decisions of
Providence?
BRANDT
(sternly, to Steiner)
Listen to me. You know I've always
shown a great deal of understanding
for you. But I am beginning to
get tired of battling with your
superiors over you.
STEINER
(defiantly)
I didn't ask you to.
AS soon as the words are out, it is obvious from Steiner's
expression that he regrets going that far, but it is too
late. Brandt rises and leans on his desk. His voice is
hoarse with rage.
BRANDT
Didn't ask me to! You didn't ask
me to! Have you gone clean out
of your mind? Do you have any
idea what you're saying?
KIESEL
Steiner -- you ungrateful idiot --
For a second, Steiner closes his eyes. Se is struggling
not to let the words out -- but they come pouring forth
violently.
STEINER
What are you asking me, Captain
Kiesel? To love Colonel Brandt?
I hate Colonel Brandt. I hate
you, Captain Kiesel, and Stransky
and Triebig, and ever since I've put on this damn uniform I've hated
everybody and anybody connected
with it. If I get into any trouble,
if I have any problem with anything
or anybody, I'll solve them myself --!
Thank you very much!
Me pauses, shaking. There is a dead silence in the room.
Brandt is breathing heavily. His unsteady hands grope
across the top of his desk.
BRANDT
(his voice broken)
Get out. Get out of here at once!
Steiner doesn't move for a split second, then he GOES OUT.
Brandt tries to regain control of himself. Kiesel looks
at the floor.
DISSOLVE TO:
106. PANORAMIC SHOT - LINE OF TRUCKS AND MARCHING MEN - DAY
all headed west. This is followed by QUICK CUTS of the
troop-laden trucks. The total impression is of a gigantic
exodus.
107. INT. SECOND PLATOON'S BUNKER
Steiner, Schnurrbart, Kruger, Zoll, and Anselm are all
present. They have packed all their belongings, ready
to move out. Schnurrbart and Kruger are playing cards.
Steiner is sitting quietly on his bunk. The others are
moving about -- obviously beset by impatience.
KERN
Why the hell aren't we moving
out?
ZOLL
What's everybody so worried
about? Moving a regiment is
quite a job, let me tell you.
It doesn't move all at once.
The PHONE RINGS.
ZOLL
Ah -- that's probably our orders
now.
AS Steiner goes to the phone, everybody makes for their
packs, ready to leave at the word.
STEINER
(into phone)
Yes -- yes, sir -- I see --
(no change of
expression)
Yes, sir -- at what time? -- Yes,
sir.
KRUGER
(to Steiner, who
has hung up)
What's the good word?
STEINER
The good word is that we've been
elected.
KERN
(cautiously)
Elected to -- what?
STEINER
Captain Stransky's paid us a great
honor. We -- that is, our platoon --
is to stay here as a rear guard until dark. For two hours. Maybe
three.
The men are frozen in disbelief.
STEINER
I think we ought to feel very
proud.
ANSELM
Those idiots are crazy.
SCHNURRBART
Not so crazy. They're pulling out,
we're not.
STEINER
(takes a map from
his pocket, spreads
it on the table,
traces with his thumb)
The division is moving back to new
positions east of Krimskaya --
ZOLL
(nodding)
Much easier to launch an offensive
from there.
SCHNURRBART
Why us? Of all the platoons in the
battalion, why us?
KERN
(violently)
Because our sergeant is such a pal
of Captain Stransky'e! That's
why us!
STEINER
I'm sorry. In the next war I'll try to pick my enemies more carefully.
108. MED. SHOT - STAFF CAR - DAY
The car stands outside Stransky's bunker. A military
CHAUFFEUR is at the wheel, and the MOTOR is RUNNING.
A steady stream of trucks and equipment, headed west,
flows past the staff car. In the b.g. the door to Stransky's
bunker flies open and the Captain with Lieutenant Triebig
behind him, STEPS OUT. As they make for the car, the phone
within the bunker is HEARD RINGING.
109. INT. BUNKER- AT PHONE
as Stransky comes INTO the SCENE, picks up phone. Triebig
is in the b.g.
STRANSKY
Captain Stransky -- Yes, yes,
Captain Kiesel, we were just
about to leave -- Yes, sir --
What's that, sir?
(his expression is
cloudy as he listens)
I see, sir. Yes, sir. I'll attend
to that immediately. Yes, sir.
He hangs up. Triebig looks at him inquiringly.
STRANSKY
Intelligence reports that the
Russians are already on the high-
way. Regiment feels that it would
be not only useless but suicidal
to leave behind any rear guard
platoons. They're to join the
evacuation immediately.
TRIEBIG
I see.
He and Stransky exchange glances.
TRIEBIG
Shall I call -- I believe it's
Sergeant Steiner's platoon, is
it not?
Stransky nods. Triebig waits for him to say something,
but he doesn't so Triebig picks up the phone.
STRANSKY
Just a second, Lieutenant --
Triebig turns to face Stransky.
STRANSKY
What do you think of this story?
We tried to establish telephone
communication with Steiner's
bunker, but evidently his wires
had already been cut. You, Lieuten- ant Triebig, upon personal investigation,
discovered their bunker abandoned.
Apparently, the platoon had already
left to take up its forward position.
The two men look at each other. Then!
TRIEBIG
(slowly)
I think it's an excellent story.
STRANSKY
Just a story?
TRIEBIG
Much more than a story. I think
it's fully justified.
STRANSKY
You do? Why?
TRIEBIG
(after a moment's
thought)
It is my firm conviction that the
Third Reich would be better off
without the likes of Steiner and
his cronies.
The two men stand looking at each other without speaking.
Then Stransky takes the telephone wire in his two hands
and yanks it out of the wall. He doesn't look at Triebig
as he strides from the bunker. Triebig follows.
DISSOLVE TO:
110. EXT. BUNKER
All the men, with the exception of Steiner, are present.
They are busy packing ammunition boxes.
ANSELM
Damn it. I hate to leave this
place. We worked weeks fixing
this place up -- this damn army.
ZOLL
The trouble with you is -- you're
scared stiff.
ANSELM
(looks at him)
You don't know how grateful we are
that you were sent to us. It's
nice to have one brave man in the
platoon.
111. MED. SHOT - AT DOOR
as it opens, and Steiner, his uniform wringing wet, COMES
IN.
STEINER
Well -- are we all still here?
KERN
What do you mean "still here"?
STEINER
(pretending surprise)
No deserters?
(walking to table)
All right, then, let's have a look
at the map before we start.
He looks at map. The men gather around him.
KERN
How far is it to Krimskaya?
STEINER
About twenty miles.
(staring thought-
fully at the map)
The stuff between is regular
wilderness. And a stream
running through.
(MORE)
STEINER (CONT'D)
How big a stream? Suppose there's
no bridge? And the whole region
is marshy. The big question is
whether we can get through.
KRUGER
Then let's use the highway.
Steiner just looks at him.
KERN
(anxiously)
What does that look mean? Did
you see any Russians on the high- way?
STEINER
Infantry, trucks, tanks, the whole
damn Russian army.
There is a moment's silence.
KERN
On the highway?
STEINER
Not in the air, take my word for
it.
ANSELM
(strapping on ammuni-
tion box)
How are we going to cross the highway
with the Russians on it?
STEINER
It's dark, it's raining--and there
are bound to be a few gaps in the
procession. We'll wait for the
right moment and scoot across.
KERN
It's hopeless. It's just plain
suicide.
ZOLL
(slinging his tommy
gun over his shoulder)
We're eight self-reliant, resource-
ful Germans. We'll make it.
STEINER
(sardonically to Kern)
There! Do you feel better?
KERN
Suppose we do make it. The Russians
will be in Krimskaya before us.
That means to get to our lines,
we'll have to cross theirs. How?
How, I'm asking?
STEINER
(his boxes are
strapped to him)
We can tunnel beneath the Russians
-- or we can pole vault over them.
Are we all ready?
KERN
(groaning)
You can joke, but we're finished.
Finished.
STEINER
Of course we are. No doubt about
it. And because you have so
brilliantly pointed that out,
you may lead the way.
He flings the door open I motions for Kern to start the
exodus. Kern looks sour, but leads the way. The others
squeeze past Steiner at the door. When they are GONE,
Steiner kicks the stove so that it falls over, spilling
its golden embers on the floor. Then he GOES OUT, closing
the door behind him.
112. FULL SHOT - THE PLATOON
huddled together in the rain, waiting for Steiner. After
a moment, he comes INTO the SCENE. He jerks his head
in the direction he wishes them to take. Then he starts
off. The men exchange glances, but no one says a word.
They trudge off.
DISSOLVE TO:
113. OPEN PLOWLANO - NIGHT
It is still dark, but in the east the sky is beginning to
lighten. In the distance WE SEE the line of men walking
slowly, their heads bent against the rain.
114. MED. SHOT - THE MEN WALKING
The ANGLE FAVORS Zoll and Kern. They are panting under the
burden of their machine-guns and boxes of ammunition.
They are cursing under their breaths. The CAMERA PANS
DOWN to their boots. They are caked with great lumps of
muddy soil.
115. MED. SHOT - STEINER - AT HEAD OF LINE
His face expressionless, he is walking steadily on. Ahead
of him the terrain begins to slope upward. Suddenly,
Steiner stops in his tracks r holds his hands up for the
men to stop.
116. MED. SHOT - KERN, KRUGER, ZOLL AND SCHNURRBART
KRUGER
What the devil's the matter now?
No one answers. Schnurrbart motions for them to listen.
After a moment, the low DRONE of big MOTORS, the CREAKING
of heavily laden TRUCKS is HEARD. Also an occasional
windblown SHOUT is HEARD.
ZOLL
(whispering)
Russians.
KERN
(nervously)
A whole army.
With quivering fingers he unthinkingly reaches for his
cigarettes and thrusts one between his lips. As he strikes
a match, Steiner suddenly APPEARS in front of him. There is a sharp SLAPPING SOUND, followed by a RAIN of SPARKS
from the crushed cigarette. Kern utters a whimpering
sound and presses both hands against his mouth.
STEINER
(voice thick with
rage)
You idiot!
The men look at him in alarm, but he whirls around and
runs forward, signaling for the men to follow.
117. MED. SHOT - KERN
as he walks along. There is a burn on his upper lip
which he pats tenderly. His face is clouded with resent-
ment. The VOICES ahead become increasingly distinct. The
crisp TREAD of nailed boots is very marked -- grows even
louder.
118. MED. SHOT - STEINER
signaling for the men to halt. He walks back to the
group.
STEINER
(to Schnurrbart and
Anselm)
You come with me. The rest will
wait here.
Steiner, Anselm and Schnurrbart run off. The men watch them
as, bent low, they DISAPPEAR into the darkness. Then,
one by one, the men sink down onto the wet ground. For a
few moments no one has the strength or the inclination to
speak. Then --
ZOLL
He shouldn't have hit you.
KRUGER
Why not?
ZOLL
What's more important than the
treatment of one German soldier by
another -- I'd like to know.
KRUGER
I'll tell you what's more important --
(MORE)
KRUGER (CONT'D)
(brings his face
close to Zoll's)
It's more important that we have to
get out of here. And you know why?
I'll tell you --
He pokes his finger into Zoll's chest. Zoll moves indignantly
back.
KRUGER
We have to get out so that we'll
be on time to get into the next
mess. Out of one mess into the
next. That's been going on for
three years, and it'll go on until
we get into one mess good and deep
and don't come out of it --
He has worked himself into such a rage that he can't go on.
There is another morose silence. Zoll sits up on one
elbow, listens.
SCHNURRBART
I think all that activity on the
highway is slackening.
KERN
Don't worry. We'll never get
across.
He stops, for everyone is listening intently. He listens
too. There isn't a sound from the direction of the highway.
KERN
(whispering)
I don't hear a thing....
KRUGER
Here comes somebody --
Every head turns.
119. LONG SHOT - A FIGURE COMING OUT OF THE MIST
From the group's P.O.V. The figure stops.
120. FULL SHOT - GROUP
SCHNURRBART
It's Anselm.
Anselm stops, waves his fist in the air.
KRUGER
Let's go.
They snatch their guns, run up the slope, DISAPPEAR into
the mist.
121. CROWN OF HILL
Beneath it lies the highway in the gray dawn LIGHT.
Deserted. In the b.g. WE SEE the platoon slipping down
the steep decline and racing across the trampled, rutted
width of the road toward the edge of the woods which rise
like a dark wall against the further mountains.
122. MED. SHOT - STEINER
He is standing about 100 yards in the forest, looking toward
the highway. The men can be seen running towards him.
In a few seconds, they reach Steiner. As they fight to
catch their breaths, Steiner looks at them, triumph in his
eyes.
KERN
Well --
Steiner holds up his hand for quiet. They listen. The
rumble of vehicles can be HEARD from the highway.
KRUGER
(grinning)
Now that we're here that sounds
like music to me.
STEINER
(dryly)
I think it's a little early for
congratulations.
(picks up his gear)
We're ready.
ZOLL
Sergeant --
Steiner turns to regard him.
ZOLL
Before we start, there's a matter
I'd like to bring up. The matter
of your treatment of a comrade,
Private Kern.
Steiner looks at him closely.
ZOLL
One soldier of the Fuhrer is just
as -- good as --
He wilts under Steiner's gaze, stops.
STEINER
(coldly)
Please continue. Just as good as
what?
ZOLL
(weakening)
Anyway -- I believe I speak for all the others --
Steiner looks at the others.
KERN
(to Zoll)
Why don't you mind your own lousy
business! It was idiotic of me
to light that cigarette. Now,
let's go.
Steiner looks at Zoll, then, without a word, turns and
starts walking. The others follow.
DISSOLVE TO:
123. STREET - IN KRIMSKAYA - DAY
The scene is one of great bustle and activity. Trucks are
unloading. Anti-aircraft guns are being set up on empty
lots between houses. A Staff car speeds INTO the SCENE,
jolts to a stop before one of the houses. Captain Kiesel alights, taking a salute from the SENTRY, ENTERS one of
the houses.
124. INT. HOUSE - STRANSKY AND TRIEBIG
are supervising the installation of phones. Kiesel comes
RUNNING IN.
KIESEL
You're slow with those phones,
Captain. Regiment has been trying
to speak to you.
STRANSKY
They'll be in any minute, Captain
Kiesel.
KIESEL
with the Russians breathing down
our necks, the Colonel wants a
patrol out front. I think Steiner's the most experienced --
STRANSKY
Sorry, Captain. I haven't the
faintest idea of the whereabouts
of Steiner and his platoon.
KIESEL
What do you mean by that?
(stares at Stransky)
You mean you didn't pull him out
of line and bring him back? You
had your orders.
STRANSKY
I tried to contact Steiner immediately
-- wasn't that so, Lieutenant?
TRIEBIG
Yes, Captain.
STRANSKY
But he had already moved his platoon
from the bunker.
KIESEL
Why? He had orders not to move till
dark.
STRANSKY
(shrugging)
You know Steiner Disobeying orders
is a speciality of his.
KIESEL
How the devil is he going to get
back here? He's got the whole
Russian army to get through.
STRANSKY
He had his orders--he disregarded them.
KIESEL
It doesn't sound like Steiner.
He'd risk his own neck, not a
whole platoon's --
(looks at Stransky
closely)
I think I can promise you a full
investigation, Captain Stransky,
when Steiner gets back. If he
gets back.
He turns and walks OUT rapidly. The telephone men are
still in the room, so Stransky and Triebig can only exchange
covert congratulatory glances. The CAMERA MOVES to the
window, THROUGH IT to an open field and as it MOVES EAST...
DISSOLVE TO:
125. OVERHEAD SHOT - THICK WOODS - DAY
The CAMERA MOVES DOWN through thorny undergrowth until
it picks up Steiner's platoon, fighting their weary way
through. The undergrowth has ripped the men's uniforms
and scratched their hands and faces. Sweat is pouring
from their faces. They are almost continually s lapping at
almost invisible stinging mites which hover about them.
The CAMERA PANS DOWN to two pair of boots slogging through
the marsh. It is evident that they are suffering a great
deal.
126. LONG SHOT - THE SUN LOW IN THE SKY
It will be dark in a little while. From THIS ANGLE the
CAMERA ZOOMS DOWN into the forest. It picks out Steiner
trudging in water that is halfway up to his knees.
There is no one in sight behind him. Suddenly, from the
rear there are HOARSE SHOUTS. Steiner stops, turns, listens. The SHOUTS are HEARD again. Steiner starts
back, CAMERA TRUCKING with him. There is a slight rise
in the terrain, which is firm and dry. Most of the men
are stretched out on the ground.
STEINER
What's the trouble?
SCHNURRBART
You'll have to call a rest, Rolf.
STEINER
(tersely)
We're not even half way yet.
SCHNURRBART
I know, but what can't be done
can't be done.
STEINER
(reluctantly)
All right.
He notices Zoll, who is lying on his stomach off to one
side, his head pillowed in his arms.
STEINER
Where are your ammunition boxes?
The others become attentive. Zoll doesn't stir. Steiner
digs the toe of his boot into Zoll's side.
STEINER
Didn't you hear me?
ZOLL
(a grunt)
Leave me alone.
KRUGER
He had them ten minutes ago. The
swine must have dumped them.
STEINER
Then he'll go back for them.
Zoll still doesn't move, so Steiner grips him by his
cartridge belt and pulls him to his feet. Face twisted
with fury, Zoll whirls, snatches up his rifle, brandishes
it.
ZOLL
(hoarsely)
Keep your dirty paws off me.
If you touch me again.
Steiner looks into Zoll's rabid face with a sort of
curiosity.
STEINER
(quietly)
You're too much of a coward.
Watch!
He drops his tommy gun and gestures Schnurrbart and Kruger back. They watch worriedly as Steiner steps so close to
Zoll that the barrel of his rifle touches his stomach.
Quietly he reaches out, grasps the rifle by the barrel and
takes it from Zoll's hands. A sort of relieved sigh goes
up from the men. Zoll stands motionless, his face re-
flecting fear, rage and shame. Steiner picks up his tommy
gun.
STEINER
Get those boxes.
Zoll hesitates for just a second. Then he turns and walks
off INTO the brush. The men look after him grimly.
127. MED. SHOT - STEINER - IN A TREE
making his way to the top. When he nears it, he pushes
aside two branches to give himself a view.
128. LONG SHOT - FROM STEINER'S POV
An enormous expanse of reeds cuts a swath across the woods. Brown water shimmers along the thick stems. Then
there is a hundred yard width of muddy water, then more
weeds.
129. MED. SHOT - STEINER
He looks grim as he starts his descent.
130. FULL SHOT - THE MEN
as they wait for Steiner.
KERN
I bet this is the only dry spot
for miles around. Why don't we
just stay here?
ANSELM
Don't be silly. They won't know
where to send our pay. Ah --
For Steiner has dropped out of the tree.
SCHNURRBART
Well -- ?
STEINER
Reeds, swamp, open water, more reeds,
more swamp. Worse than I thought
it would be.
Steiner spreads the map on the ground. The men look over
his shoulders. Steiner points to something on the map.
STEINER
(nods)
Tomorrow morning we'll start
before dawn.
KRUGER
(querulously)
Straight into the creek?
STEINER
Shut up! We'll march north to the
road.
KERN
How far is that?
STEINER
About thirty miles.
KRUGER
Thirty miles! It's crazy! This
way we're no more than eight miles
from Krimskaya!
STEINER
Sure. If we could cross that
swamp, and we can't!
KRUGER
Before I march thirty miles I need
something to eat.
STEINER
If you've got to have something
to eat, try tree bark. Boiled in
soft water it's supposed to be
edible. Damn it all, don't act
like a bunch of children.
They look shame-faced, but Kruger growls...
KRUGER
You've seen what the water looks
like. Like a hundred cows have
been scheissing in it.
STEINER
Then boil it and skim it. You
won't mind the filth -- you've got
a pig's stomach anyway.
The men grin.
STEINER
We'll make a soup. Put the meat
and bread right in it. Kruger
and Schnurrbart fetch water. But
don't anybody try drinking the
muck before it's boiled. The rest
of us can gather wood.
The men make a movement to start.
STEINER
Wait a minute -- we may as well
settle this now. We'll need a
volunteer for sentry duty tonight.
At least to start it off --
Nobody answers. The men don't look at each other.
STEINER
I know you're all tired, but --
KERN
Sergeant, I --
At this moment, a NOISE in the brush causes all heads to
turn. An exhausted Zoll, lugging the ammunition boxes'
struggles INTO the SCENE. Steiner looks at him, then turns
to Kern.
STEINER
That's all right. The problem is
solved.
The men laugh, start off. Zoll looks puzzled by the laughter.
DISSOLVE TO:
131. CLOSE SHOT - SMALL SMOLDERING CAMP FIRE
The CAMERA PULLS BACK to REVEAL Kruger, Schnurrbart, Kern
and Anselm asleep on the ground in various uncomfortable
postures. Pawn is breaking in the sky. The air is filled
with the croaking SOUND of FROGS.
132. MED. SHOT - KRUGER
as he slowly awakens. It is a moment before he is fully
awake. He reaches out and nudges Kern awake.
KERN
Huh? -- What? -- Oh -- what's up?
KRUGER
Where's Steiner, do you know?
KERN
He just got up sometime ago and
went off somewhere.
KRUGER
Did he say where?
By this time the conversation has awakened the other men.
KERN
I asked him, but you know Steiner
-- he just gave me a look and off he went. I got the shits.
SCHNURRBART
(grimly)
Steiner goes -- and you get scared'
huh?
KRUGER
(looks around at all
the faces)
We're all scared the minute Rolf's
not around to hold our hands.
SCHNURRBART
(tosses a branch into
the fire, sending up
a shower of sparks)
He'll be back. Anselm, relieve Zoll.
ANSELM
(rebelliously)
Why me?
KRUGER
Hurry up and relieve Zoll. On the
double.
ANSELM
You and Schnurrbart -- big shots!
Lousy noncoms! You're all alike.
Rank goes right to your heads. It
stinks. The whole damned army
stinks. And you, Kruger, stink
worst of all!
Kruger picks up a dry stick of wood which is only partially
in the fire and tosses it at Anselm, who barely throws his
hand up in time. Then, with a cry of rage, he jumps across
the firs and onto Kruger's neck. The two men struggle on the ground.
KERN, SCHNURRBART
(simultaneously)
Come on, now - stop it. Kruger!
Anselm!
Zoll comes running IN from his sentry post.
ZOLL
What's going on here?
Zoll, assisted by Kern, tries to separate the two men who
are locked together on the ground.
KERN
Watch out -- somebody's going to get
burned in the fire!
Suddenly, Steiner's voice is heard.
STEINER'S VOICE
Zoll -- Kern! Let them fight it out.
133. MED. SHOT - STEINER
His gun is in the back of an elderly RUSSIAN. The others
are in the b.g.
STEINER
Why shouldn't they kill each
other? Why should the Russians
have to do it?
SCHNURRBART
Who the hell is that?
The old man sinks to the ground.
STEINER
It's my guess he's a very old
Russian -- what's yours?
KRUGER
Where did you find him, Rolf?
STEINER
There's a dirt road about four
miles from here. The road leads
to a bridge. He was guarding it.
ZOLL
A bridge! A bridge that crosses
the swamp, you mean?
SCHNURRBART
Eureka, that means we don't have
to march thirty miles to the
highway, doesn't it?
KERN'S VOICE
Not to mention the forty more to
Krimskaya.
ANSELM
(feeling his
throat)
Doesn't anybody care that my neck
is broken?
STEINER
Not so fast. On the other side
of the bridge there's a house. and
there are Russians in the house.
Pause.
KRUGER
How do you know -- did you see any?
STEINER
No, but there was smoke coming out
of the chimney. You ask him how
many there are.
Kruger talks in Russian to the old man, who replies. Then!
KRUGER
He says there's two wagons and two horses.
STEINER
To hell with that. Ask him how
many men there are in that house.
Kruger speaks in Russian, but the old man just shakes his
head.
STEINER
How many men are there in the
house?
Kruger speaks to the old man who closes his eyes and turns
his head aside.
KRUGER
He won't say.
STEINER
(putting the muzzle
of his gun against the old man's head)
He has to. Ask him again.
Kruger expostulates with the Russian, illustrating his words
with unmistakable gestures. The Russian slowly opens his
eyes. Steiner is regarding him without expression. A
brief smile passes over the Russian's wrinkled, parchment-
like face, and he says a few words.
STEINER
What is he saying?
KRUGER
He says he is an old man.
STEINER
(calmly)
We can see that. I admire him, but
I'm going to have to shoot him.
SCHNURRBART
Isn't it dangerous, firing a shot?
There may be some of them around,
looking for him.
STEINER
You may be right. On the other
hand, we can't waste time hanging
him.
Pause.
ANSELM
Well, let's see -- there's strangu-
lation, drowning, stoning --
STEINER
If we had the time we'd let you
talk him to death.
Pause. Steiner takes a knife from his scabbard. The men
are very silent.
STEINER
Any volunteers?
ANSELM
(after a moment)
How about you, Zoll? You were a
butcher in civilian life, weren't
you?
The joke falls flat, even with Anselm.
ZOLL
(after a moment)
If everybody's scared, I might
have a try at it.
STEINER
No. I'll make it quick and clean.
(lifts the Russian
to his feet, to
Kruger)
We'll give him one more chance.
Tell him what I'm going to do.
Kruger speaks to the Russian who says nothing, doesn't
even shake his head.
STEINER
All right, then --
He pushes the Russian ahead of him toward a grove of small
trees, CAMERA TRUCKING with them.
134. FULL SHOT - GROUP
They stand around in silence. A low GASP is HEARD O.S.
The men tense. Anselm ventures to look off.
135. LONG SHOT - ANSELM'S POV
Steiner is seen bent over, leaning against a tree.
136. FULL SHOT - GROUP
ANSELM
I'll say this for Steiner. At
least he's throwing up.
All eyes are fixed o.s. After a few moments, Steiner
comes back IN. His knife and scabbard are both gone.
STEINER
All right, get your things together.
SCHNURRBART
I wonder how many Russians there
are in that house.
STEINER
Since we've got to cross that bridge,
it doesn't matter how many there are.
KERN
Aren't we too few for the job?
STEINER
No. There's only the front door and one window on the side. We'll
smoke them out with grenades, then
mow them down as they come out.
(looks at Zoll)
And hang on to your ammunition boxes.
We're going to need them.
Steiner picks up his pack.
137. LONG SHOT - A ONE-STORY HOUSE - DAY
It is made of massive logs. Smoke is pouring from one of
the chimneys. The CAMERA STARTS PULLING BACK and we see
that a creek flows parallel to the house. Its bank is
overgrown with shoulder-high reeds which sway gently in
the wind. Two unhitched wagons, their contents concealed
under dark brown canvas' stand by the side of the house.
Then we see a primitive but wide wooden bridge with rails
on both sides. In the center, leaning against the narrow slats of the railing, stands a GUARD -- an elderly man with
a yellow, wrinkled face. His cap is pushed back on his
head and he is staring dully at the dirty surface of the
water. His tommy gun is slung diagonally across his back.
The CAMERA CONTINUES BACKWARD across the bridge into the
reeds. Finally, it comes to rest on the flattened shapes
of Steiner and his platoon who are gazing intently at the
sight. The men speak in whispers.
STEINER
You realize how important it is
that no one -- not a single one --
escapes?
KERN
We won't be able to get them all.
STEINER
We have to get them all. Once the
Russians find out there are Germans
behind their lines there'll be
hundreds of them beating the bushes
for us.
He looks at the men significantly. They nod grimly.
STEINER
Anselm -- you and Kruger stay here.
Set up the machine gun -- see that no
one gets past this way. The rest
will come with me. Keep your heads
behind the trees -- and remember, if
one of them gets away we're sunk.
with bent back, he moves forward, the men following.
Anselm starts setting up the machine gun.
138. MED. SHOT - STEINER AND MEN
walking cautiously through the woods to get on the other side of the house. The CAMERA FOCUSES on Zoll, who is
last in line. His eyes are fixed on the ground, on small
patches of SUNLIGHT on the ground. They change shape,
expand and contract each time the leaves stir overhead.
Suddenly Zoll takes mincing little steps, now jumping or
skipping to avoid a band of SUNLIGHT. He becomes so
absorbed in this that he is oblivious to everything else.
He doesn't notice that Steiner is standing in his path,
watching him curiously. Zoll is on the point of jumping
over a broad s trip of LIGHT when his eyes meet Steiner's.
His intended jump becomes a halting step that carries him
right into the middle of the SUNLIT band. Zoll stands
still, looking into Steiner's face.
ZOLL
(weak smile)
Just a game --
STEINER
(incredulously)
A what? A game?
ZOLL
(apologetically)
When we were kids -- a came -- we'd
race through the woods. No one
was allowed to step on a spot of
sunlight --
STEINER
I see. And would you like us to
join you in the game? Perhaps we
could find the time.
ZOLL
I only thought -- silly idea -- if I
don't step on a spot of sunlight now I'd come through this all right.
He smiles an abject, apologetic smile. Steiner's face
is expressionless. He turns to the men, motions them to
the ground. Zoll is the last to obey.
139. MED. SHOT - STEINER ON THE GROUND
The men behind him.
STEINER
I'll take care of the gentleman
on the bridge. When I run -- you
follow me --
(looks at Zoll)
-- taking special care to avoid
the spots of sunlight.
Zoll flashes a look of hatred at Steiner, but remains quiet.
Steiner lifts his tommy gun, sights it at the man on the
bridge. He takes his time. Beside him, Kern is trembling visibly.
140. LONG SHOT - THE GUARD ON THE BRIDGE
He has not changed his position.
141. ANGLE - OVER STEINER'S SHOULDER
SHOOTING TOWARD the Guard in the b.g. Steiner is still
aiming.
Then he FIRES -- a whipping round of SHOTS. In the b.g., we
SEE the man on the bridge start to move as though he stood
on a whirling disc. Then his hands grip the wooden railing
for support. His legs sag, and he slides, knees first,
underneath the railing and into the dirty water. Steiner
jumps to his feet, runs madly for the bridge, the men
following.
142. OTHER SIDE OF BRIDGE
as Steiner comes across, throws himself flat on the ground.
The others, close behind, do the same. They all SHOOT round after round at the doors of the hut. Then --
STEINER
(holding up his hand)
Stop!
A FINAL BURST from Kern and then there is stillness. The
men look toward the house.
143. LONG SHOT - THE HOUSE
There is not a sound from the house. Not a single sign
of any activity.
144. MED. SHOT - THE MEN
still lying flat on their stomachs. They turn their faces
to look at each other questioningly.
ZOLL
(hopefully)
Maybe there's nobody in the house.
STEINER
Don't worry, there is.
ZOLL
Well, it can't be too large a
force.
KERN
Enough to give us a hero's death.
SCHNURRBART
(to Steiner)
What do you make of it?
KERN
(excitedly)
Look -- !
A figure is rushing toward them.
STEINER
Don't shoot -- it's Kruger!
Kruger comes RUNNING IN, out of breath.
KRUGER
Rolf --
STEINER
(sharply)
Why did you leave your post?
Anselm can't handle them alone.
KRUGER
Anselm is in the house.
STEINER
What?
KRUGER
Didn't you hear the screaming?
STEINER
Screaming?
(looks at the men for confirmation)
KRUGER
Women's screams, then moans. So
Anselm went in.
KERN
(bitterly)
Naturally. If it's anything to
do with women --
STEINER
What do you mean, women?
KRUGER
I mean women! Anselm says to come
over.
STEINER
Well, it's nice of him to invite
us. Kern, you stay outside. Fire. one shot if you see anyone coming.
He gets up, runs toward the house, the men following.
145. EXT. HOUSE
as Steiner comes INTO the SCENE, kicks open the front door.
146. INT. HOUSE - HALL
It is a narrow hall, which separates two rooms. From the
left room comes a weird MOAN. The men look at each other.
Steiner walks to the room.
147. INT. ROOM
The entire long wall of the room is taken up by a heap of
straw covered with blankets. Crowded together in the rear
half of the room, faces half-defiant, half-terrified, are
about a dozen and a half WOMEN in Russian uniforms. They
carry no weapons. Most of them are big breasted, stocky
women. Their full blouses, reaching down over their hips,
are gathered at the waist by broad belts. One or two are fairly young and attractive, and there is one exceed-
ingly pretty GIRL. At the women's feet, bedded down on
the straw, lies a young WOMAN, the clothing stripped away
from the upper part of her body, a blood-soaked bandage
Covering her right breast. Her eyes are closed, she emits
the weird MOAN.
Anselm is guarding them. Steiner and the men stop in their
tracks as they see the women.
ANSELM
(grinning broadly)
I hope you put me in for the Iron
Cross, Sergeant. I took them
single-handed.
KRUGER
Well, what do we do with them?
STEINER
What do you do with armed guerrillas,
male or female?
SCHNURRBART
These are not guerrillas. They're
regular uniformed troops. Besides
-- they had no arms.
STEINER
If they're regular troops, we'll
treat them as we must treat all
prisoners in our situation.
SCHNURRBART
(gasping)
You mean, shoot them?
STEINER
Do you see any other way? If
one of them escapes and gets to the Russian lines before us, we're
done for.
ZOLL
Steiner is right. The women must
be killed.
STEINER
(looks at Zoll)
Despite the fact that you agree
with me, I still feel I'm right.
His glance falls on the wounded woman. She is looking at
him with an expression of wild horror. An older WOMAN
beside her speaks in Russian.
STEINER
What did she say, Kruger?
KRUGER
She says there's a kettle of hot water in the room across the
hall. Please help the girl, she
says.
STEINER
Anselm, get the water. We'll clean
the wound.
ANSELM
(bewildered)
What's the sense of fixing her up,
if you're going to shoot her?
STEINER
(sharply)
Get the water.
Anselm shrugs, GOES OUT.
STEINER
(to Kruger)
Ask them where they come from
and where they were going. Tell
them if they lie to us we'll throw
them in the creek.
Kruger talks in Russian, the older Woman, who appears to
be an officer, replies.
KRUGER
(to Steiner)
They belong to the B d th Women's
Mortar Battalion and are on their
way from Maihop to Krimskaya. I
think she's telling the truth.
Steiner looks grim. Anselm COMES IN with a bowl of hot
water, sets it on the floor.
148. MED. SHOT - STEINER AND WOUNDED WOMAN
as he bends down beside her. She tries to roll back against the wall.
STEINER
Take it easy. What do you think
I want to do?
He lifts the bandage. We do not see the wound, but from
Steiner's face, we know that it is a serious one.
STEINER
(opening his first
aid kit)
Are you in pain?
The woman understands, nods.
STEINER
(enigmatically)
The pain will be over soon.
He starts to wash the wound. In the b.g., we CAN SEE that
the other women have not changed their posture. They are still huddled together against the wall, fearfully
watching his movements.
Steiner lays a compress on the wound.
KRUGER
This is ridiculous. A nice clean
bandage -- then a bullet.
Before Steiner can reply there is a NOISE at the door.
149. MED. SHOT - KERN AND OLD RUSSIAN
Kern has his gun in the Russian's back. The Russian is
squat and stocky and despite his age looks powerful.
KERN
(grinning proudly)
He practically walked into our
arms --
OLD RUSSIAN
(to Steiner, raising his hand pleadingly)
Captain --
Steiner pushes him in the direction of the women, motions
for him to lie down. As the old man reels, several of
the women SCREAM.
KERN
I had a look at the wagons, Sergeant
-- there's plenty of food. Canned.
stuff.
STEINER
Good. Zoll, you stay here. If
any of the women starts anything,
shoot her at once.
ZOLL
(as they walk off)
When do I get to eat?
STEINER
Don't be in such a hurry. Who
wants to eat?
He starts OUT.
150. CLOSE SHOT - PAIR OF HIGHLY POLISHED OFFICER'S BOOTS
CAMERA PANS UP to a MED. SHOT of Colonel Brandt on the
telephone. The scene is obviously his new headquarters
in Krimskaya, the second floor of a Russian building.
Captain Kiesel stands near the window, listening.
BRANDT
Yes, General.... Yes, General,
we're so solidly dug in, it seems
almost a shame --
(smiles ironically
at Kiesel)
I say that, General, because in four or five days -- we'll be driven
out of these beautifully dug-in
positions.
(another smile
to Kiesel)
Certainly, General. I know about
German valor. without that valor,
I wouldn't give us more than two
days -- Yes, General. I will, sir.
(hangs up, shrugs
in Kiesel'S
direction)
The General was short with me; but
he knows the truth as well as I do.
KIESEL
Of course. It's always he who orders us to fall back, isn't it?
There is a KNOCK at the door.
BRANDT
Come in.
An ORDERLY opens the door for a CAPTAIN.
CAPTAIN KILIUS
Captain Kilius reporting, sir.
BRANDT
Oh, yes. You have your orders?
KILIUS
Yes, sir. And a letter for you.
BRANDT
(as he opens the
envelope)
This is Captain Kiesel--
Kiesel and Kilius shake hands.
BRANDT
Captain Kilius comes to us from
the Western Front.
KIESEL
Really? Whatever induced you to
leave, Captain?
Kilius smiles wanly. Brandt, reading the letter, snorts
loudly.
BRANDT
Didn't you once mention Captain
Stransky's good connections?
KIESEL
There is a Major General Stransky
attached to Army High Command,
South. He is, I think, a cousin
of Captain Stransky's.
BRANDT
I see.
(tosses letter on
table as if it
were filth)
You can guess what that is, can't
you?
KIESEL
His transfer, of course.
BRANDT
(grimly)
Exactly. Herr Stransky is to report
to Paris within a week.
There's a silence in the room as if both men had forgotten
the presence of Kilius. Then Brandt recovers. He turns
to Kilius.
BRANDT
Please excuse me' Captain. My
orderly will arrange for your
billeting.
KIESEL
Don't unpack too thoroughly.
We'll be on the move soon.
KILIUS
(smiles)
Thank you, Colonel Brandt.
Se salutes, LEAVES.
KIESEL
He's so new here, he didn't even
ask in which direction.
BRANDT
That bastard, Stransky!
(shrugs)
without Steiner to contradict him,
he'll get his Iron Cross and strut
all over Paris. That arrogant
bastard!
(pause)
So Stransky will be in Paris, while
Steiner --
(looks glumly out
the window)
God knows where he is --
151. CLOSE SHOT - STEINER
stuffing food into his mouth. The CAMERA PULLS BACK to
show the scene as the exterior of the house, at one of the
wagons.
The other men are eating greedily too. Steiner turns, looks toward the window of the house.
152. CLOSE SHOT - ZOLL'S FACE - AT WINDOW
The CAMERA PULLS BACK to take in the Russian female prisoners
and the old man. The women are still huddled close together
as close to the wall as they can get. They are asleep or
pretending to be asleep. The wounded woman lies with her
head on another woman's lap. Her eyes are closed and she
MOANS softly in her sleep.
153. MED. SHOT - OLD MAN AND YOUNG GIRL
They are sitting in the forefront, and are the only ones
not asleep. Their heads are together and they are
whispering. The girl is no more than twenty and very
pretty. The old man's expression is very worried.
154. MED. SHOT - ZOLL
as he turns from the window. He sees the old man and the
young girl whispering.
ZOLL
Shut up, you two!
The old man and young girl draw slightly apart. The girl
looks at Zoll and her expression is frightened.
155. CLOSE SHOT - ZOLL
as he looks at the girl. His eyes glide searchingly over
her figure. It is very evident what he is thinking.
He looks at her quite a while, then, with an effort, turns
away, walks to the door, stands with his back to it, tries
not to look at the girl.
156. MED. SHOT - GIRL AND OLD MAN
The old man has moved closer to her, and has cautiously
resumed his whispering. The girl's expression is still
tense. She draws back in fright as Zoll suddenly comes
INTO the SCENE.
ZOLL
I told you to be quiet, didn't
I?
He lifts his foot and, kicking his boot against the old
man's shoulder, sends him sprawling on his back. The old
man looks up at him, then, as if resigned, turns over on
his side. Zoll looks at the girl. It is some time before
he takes his gaze away. Then, he walks to the window,
looks out again. In the b.g., we SEE the men grouped
around the fire, evidently eating. After a moment, Zoll
turns away from the window. The CAMERA is CLOSE on his
FACE and we SEE him gape and stand rooted to the spot.
The CAMERA PULLS BACK to take in Zoll and the young girl.
Her head is bowed and she is fingering her blouse. The
top button is already open. She doesn't look at Zoll and
she slowly unfastens the second button. Zoll gulps, then
looks at the old man who is lying on his side, eyes closed.
Zoll's eyes take in the rest of the room, the CAMERA PANNING
with his gaze. Most of the women seem to be asleep, or are
sitting with heads drooping, staring at the floor. Then,
the CAMERA comes to rest on the young girl again. She is
looking steadily toward Zoll who watches her in fascination.
She unfastens another button. Then she closes one eye in
a slow wink and smiles at Zoll.
157. CLOSE SHOT - ZOLL
He holds his breath. He is perspiring slightly.
158. MED. SHOT - ZOLL AND GIRL
The door to the hall is in the b.g. The girl has now
unbuttoned the last button and is looking smilingly at
Zoll, who stands hesitant. 'But now, the tread of heavy
BOOTS is HEARD in the hall. Zoll hurriedly jumps to the
wall and comes to an attitude of strict attention. The
door opens and Schnurrbart APPEARS.
SCHNURRBART
Everything all right?
Zoll manages to nod indifferently. Out of the corner of
his eye he looks toward the girl. She is holding her
blouse closed and staring vacantly at the floor.
SCHNURRBART
As soon as Kern has finished eating
he'll take over so you can eat.
(his eyes rove over
the prisoners)
They asleep?
ZOLL
(curtly)
They seem to be.
He is anxious for Schnurrbart to leave, but Schnurrbart
takes his time. He comes all the way into the room, his eyes on the prisoners.
ZOLL
(impatiently)
What do you want? Everything
is all right.
SCHNURRBART
Doesn't it seem funny to you that
they're all asleep?
ZOLL
Why is it so funny?
Schnurrbart shrugs, goes OUT. Zoll kicks the door shut,
quickly turns to look at the girl.
159. MED. SHOT - THE GIRL
She has opened her eyes and is looking encouragingly at
Zoll. When he doesn't stir, she spreads her blouse open,
puts her hand under her undershirt. with her other hand she beckons to Zoll.
160. CLOSE SHOT - ZOLL
He digs his teeth into his lower lip. He stands as if
nailed to the spot. His eyes sweep over the heads of
the other prisoners. pause upon the face of the man.
Although the old man is lying with closed eyes, Zoll looks
at him suspiciously. But then he looks toward the girl
again --
161. MED. SHOT - THE GIRL
She smiles at Zoll and begins to push herself along the
floor toward him. This overcomes Zoll's fears. He
takes one last look at the old man, then beckons to the
girl with a movement of his head.
ZOLL
(softly)
Come. Come with me.
She hesitates and glances at the old man for the briefest
moment. His eyes are still closed, his back is to them.
ZOLL
(hoarsely, with
another gesture)
I said--come.
The coquettish smile on the girl's face has vanished. There
is fear in her eyes. She doesn't move. He takes one long
stride to her, grasps her shoulders tightly, pulls her to
her feet. He throws another glance at the old man who
doesn't stir. Abruptly, Zoll pulls the resisting girl
by the waist to the door. He throws open the door, pulls
the girl into the hall.
162. MED. SHOT - IN HALL - ZOLL
looks madly around. There is a door on the opposite side of the hall. He turns to the girl, sees that she is trying
with her free hand to button her blouse. Zoll shoves her
toward the opposite door.
163. INT. OPPOSITE ROOM
as the door is flung open and Zoll, dragging the girl,
COMES IN. The room is sparsely furnished, its chief
feature being a huge wardrobe closet against the one wall.
As Zoll lays his tommy gun down in a corner, the girl
suddenly breaks loose and runs toward the door. In two
bounds, Zoll is at her side. He throws her to the ground,
falls on her, panting with exertion and excitement. She
tries to defend herself, her clenched hands battle against
his face and she begins to scream. Zoll, who has ripped
her blouse off her shoulders, drags one of the blankets
over her face, smothers her screams.
164. HALL - THE OLD RUSSIAN
stands hesitant as he HEARS the MUFFLED SCREAMS.
Then he runs to the front
door, peers cautiously out, RUNS OUT.
165. EXT. HOUSE - AT WAGON - THE MEN
have just about finished eating.
KRUGER
(sitting up suddenly)
What was that?
ANSELM
What was what?
KRUGER
(overlapping)
I thought I heard a shot.
STEINER
I heard it. It was a shot, all
right...
KERN'S VOICE
(faint and far off)
Rolf -- Kruger --
ANSELM
It's Kern!
He and Kruger RUN OFF. Then the others follow.
166. FULL SHOT - KERN LYING ON GROUND
Anselm and Kruger run in, bend over him. Steiner and
Schnurrbart COME IN.
KRUGER
He's hurt -- Kern is hurt --
Steiner looks grimly in the direction of the hut.
ANSELM
Maybe a company of Russians has
come up.
SCHNURRBART
One shot, and it's a company of
Russians!
KERN
(gasping)
The old Russian -- he ran past --
STEINER
What!
KERN
Sorry, Steiner -- I was in no position
to -- he grabbed my gun --
He falls silent, his eyes close. Steiner bends over to
examine him.
KRUGER
How bad is he?
STEINER
(getting up)
He's probably finished. Do what
you can for him.
(looks grimly
toward hut)
I think I'll have a few words with
Herr Zoll.
As he starts away, the men look down worriedly at Kern.
167. INT. HALL - OF HUT
as Steiner comes RUNNING IN. He is about to enter the
room on the right when he HEARS WHIMPERING from within
the room on the left. He listens for a moment, then the
WHIMPERING IS HEARD AGAIN. Steiner lifts his foot, kicks
the door in.
168. INT. ROOM- ZOLL
who is fastening the buckle on his belt, whirls around as
the door flies open. The girl lies on the floor naked and whimpering. Zoll stares incredulously at Steiner
in the doorway. For a few seconds they merely stare at
each other.
Then Steiner comes slowly into the room and slowly approaches
Zoll until he is right in front of him. The WHIMPERING of
the girl STOPS.
STEINER
I hope you had a good time,
because you're going to pay
quite a price for it.
He raises his gun. Zoll takes a step backward in terror.
ZOLL
(incredulously)
You're not going to shoot me?
STEINER
You left your post, you let a prisoner escape, you've endangered
all our lives.
ZOLL
But Steiner, he was asleep -- I swear
it -- he was asleep.
Steiner hesitates, then his eyes fall on something.
169. CLOSE SHOT - THE SINGLE-DOORED WARDROBE
It fills the entire left corner of the room. It is
massively built, but has no lock, the door can only be
closed by a wooden catch.
170. MED. SHOT - STEINER AND ZOLL
STEINER
(to Zoll, indicating
wardrobe)
Open the door.
Zoll doesn't move, his face reflecting fear. Then, invol- untarily, he glances toward his tommy gun -- out of reach in
the farthest corner of the room. Steiner catches his Glance.
STEINER
(coldly)
Don't try it. You couldn't get
there. Come on, open the wardrobe.
ZOLL
Not until you tell me why you
want me to open it.
STEINER
(in sudden fury)
Go on, go on, hurry up.
Zoll turns quickly, walks to wardrobe, opens the door a
little.
STEINER
More.
Zoll pulls the door wide open. The wardrobe is empty inside,
Steiner nods in satisfaction. He turns his head for a
moment to see that the girl's gaze is fixed upon him. He
turns to Zoll.
STEINER
If she had a gun she'd fill us
both. Get into the wardrobe.
Zoll, his eyes wide with fear, takes a quick step to the
side. Steiner steps up to Zoll, whacks him across the
face with the heavy barrel of his gun. Zoll lets out a
wild shriek, presses both hands against his nose, which
streams blood. Steiner, ignoring his cries, shoves him
into the wardrobe. Steiner slams the door shut, pushes
the wooden catch down. From within, comes Zoll's MUFFLED
VOICE -- "Steiner -- Steiner --"
STEINER
(loudly)
If you make a sound, I'll fire
through the wood.
From the side he tugs at the wardrobe until he has moved
it somewhat away from the wall. Then, he squeezes between
the wall and the rear of the wardrobe. He braces his
back against the wail and, with a mighty shove, pushes
the wardrobe over. It crashes to the floor, sending up a
cloud of dust, behind which appears the girl's white face.
For a few seconds there is silence, then Zoll begins to
SHOUT and KICK. Steiner hammers the butt of his gun
against the rear wall of the wardrobe. The SHOUTING STOPS.
STEINER
Stop the racket. And don't be
ungrateful. For you, the war is
over.
(he turns to the
girl; gestures)
You stay here.
He looks at the wardrobe with grim satisfaction, WALKS OUT.
171. INT. HALL
as Steiner COMES OUT. He HEARS a woman SHOUTING from the
other room. Steiner crosses to the room.
172. INT. OTHER ROOM
as Steiner COMES IN. A woman SHOUTS at him.
STEINER
(looks at the
wounded woman}
How do you feel? Any better?
The woman just stares up at him. Steiner kneels, looks
at the bandage.
Anselm, Kruger and Schnurrbart come RUNNING IN, in a state of great excitement. The former has a roll of
maps in his hand, the latter carries a walkie-talkie.
ANSELM
Sergeant -- we were rummaging through
the second wagon and look what we --
STEINER
You picked a lovely time to go
souvenir hunting. What good is
a Russian walkie-talkie to us?
What have you got?
ANSELM
A pretty goddamn good map. It's
not only got their positions in front
of Krimskaya -- it's got ours, too.
STEINER
Why, that's almost German efficiency.
He spreads the map on the table, looks at it critically.
KRUGER
What do you make of it?
STEINER
A work of art. What Colonel Brandt
wouldn't give to have this.
(looks at map again)
Their Company Three is pretty well
spread out. Right opposite is a hill
marked on our side.
(again examines
map)
The best spot to cross looks like
Number Three's spot.
KRUGER
Through a whole company?
ANSELM
And in our gorgeous gray-green
uniforms, some chance we'd have.
STEINER
It's the only chance we have. The
dark will give us some --
He pauses, as his eyes fall upon the Russian women. He
stands silent as the men look at him. Then he turns to
Kruger.
STEINER
Tell them to undress.
KRUGER
Who?
STEINER
(impatiently)
Them, the women. Tell them to undress.
173. CLOSE SHOT - WARDROBE - ZOLL
can be HEARD BANGING FEEBLY on the door.
174. OTHER ROOM
The men are in various stages of jonning the women's
uniforms. They are grumbling.
SCHNURRBART
Where in hell is Zoll?
There is a sudden silence. The men look at Steiner, who
is searching around for a blouse.
STEINER
I don't think we have to worry
about him.
KRUGER
Has he skipped out?
STEINER
What would you have done in
his place? Hurry up, or we'll
have a Russian regiment on our
necks.
KRUGER
(bursting out)
Suppose we do sneak through the
Russian lines? Our own men
will mow us down, us looking like
a pack of damned Russians!
A silence falls upon the men.
STEINER
Don't you prefer a German bullet
to a Russian one? Where's your
national pride?
Bitter, raucous laughter from the men.
The men, the uniforms in their arms, start for the door,
with backward glances at the women. The men GO.
175. MED. SHOT - STEINER AND KRUGER
who are bringing up the rear. The old Russian woman
SHOUTS some thing.
STEINER
What did you say?
KRUGER
She still wants to know where
the young girl is.
STEINER
Tell her when we're gone, to
look across the hall.
Kruger speaks to the woman. The wounded woman moans.
Steiner, his face expressionless, bends, lifts the
bandage. inspects the wound.
KRUGER
How does it look?
STEINER
(getting up)
She's a goner. Very soon now.
The wounded woman, looking up at them intently, speaks in
low, halting tones. Steiner looks inquiringly at Kruger,
who shrugs.
KRUGER
She says how do we like it now
that they have us on the run?
Steiner is silent a moment.
STEINER
Have you got an answer to that?
KRUGER
No.
STEINER
(grimly)
Then, let's go.
He stalks OUT, followed by Kruger.
176. FULL SHOT - THE WOMEN
are donning whatever clothing the men have left behind.
Others have draped blankets around themselves. Three
women are bending over the wounded woman. From the ex-
pressions on their faces we know that the end is near for
their wounded compatriot.
177. MED. SHOT - WOMAN AT WINDOW
She is peering out cautiously. After a few moments. she
turns and says something in Russian to the other women.
Several come hastening to the window, look out.
178. LONG SHOT - WOMEN'S POV
In the b.g., we SEE the men walking off. with Steiner in the lead, they DISAPPEAR into the woods.
179. MED. SHOT - WOMEN - AT WINDOW
They turn and their faces express grim satisfaction.
Then, a large woman, evidently the leader, looks through
the open door, across the hall to the door beyond. Her
face sets. The women follow her gaze.
180. INT. OPPOSITE ROOM - THE WARDROBE
is lying flat on the floor. The CAMERA MOVES UP CLOSER
to it.
181. INT. WARDROBE - ZOLL
is lying on his stomach, his head resting on his arms,
his mouth to a small crack in the planks. After a moment,
he raises himself up on one elbow, listens carefully. He
thinks he hears something -- but evidently he is mistaken.
He lies flat on the floor again. Then he reaches for his
glasses which are lying by his side. He inspects them; they are broken. He shakes his head in anger. He presses
his mouth to the crack again, breathes. The neat is
intense. He wipes the Perspiration from his face. Finally
he opens the buttons of his shirt, pulls down his trousers
and turns over on his back. He lies still and quiet for
a few moments, then an expression of great fear comes
into his face. He calls out!
ZOLL
Steiner -- ! Steiner -- Kruger -- !
Schnurrbart! I'm in here -- !
There isn't a sound, and Zoll's fear grows.
ZOLL
(yelling)
Steiner -- do you hear me! Let me
out! Schnurrbart -- it's Zoll, I'm
in here -- !
His shouting has become frantic. He pounds on the door.
He crooks his body and beats his heels against the bottom
of the wardrobe. He digs his hands into the crack of the
door and pulls until his fingers are bleeding. At last,
he lies still, punting for air. Then, his expression
freezes. There is the SOUND of softly advancing FOOTSTEPS.
The wardrobe begins to move. Twice, Zoll is jolted against
the wood -- and suddenly there is DAYLIGHT.
182. EXT. WARDROBE - THE CROWD OF WOMEN
are grouped around the wardrobe, the door of which has
been smashed open.
183. MED. SHOT - ZOLL - ON FLOOR OF WARDROBE
Stunned, he pulls himself up to a half-sitting position
and blinks in speechless terror at the crowd of mocking
faces that are bending over him, at rows of breasts
bulging out of dirty underwear. Suddenly, dozens of hands reach into the wardrobe, grip his hair, his clothes,
his limbs, pull him up and hurl him to the floor of the
room. As he starts to defend himself, his arms and legs
are pinioned, his clothes torn off, and a rain of merciless
blows beat down upon him. Russian CURSES fill the air.
184. CLOSE SHOT - ZOLL'S FACE
as the blows rain on him. Just above him is the face of
the young Russian girl he has raped. Her hair hangs in
tangled strands over her forehead, her eyes gleam like
green glass lighted from within. She does not strike him
or curse him as the others are doing. She only stands
stooped above him, staring at him in silence. And as
Zoll looks into her face, the blood runs down his fore-
head, bubbles out of his nose and mouth. He jerks and
writhes under the kicks and punches.
185. FULL SHOT - WOMEN
as they beat Zoll, who is hidden from the CAMERA.
Suddenly, there breaks from him a SCREAM that no longer
resembles anything human. The scream paralyzes the women.
For a moment, they stop the beating. Several hold their
hands to their ears. Then, one woman shakes off the
paralysis. with both feet at once, she jumps on the
bellowing, twitching, bleeding body. The others spring
on him, too, stamping, screaming and kicking.
186. CLOSE SHOT - DOZENS OF BOOTS
as they jump up and down mercilessly on Zoll's body.
187. LONG SHOT - FROM HALL - THROUGH OPEN DOOR
at the spectacle. Gradually, the kicking and jumping
stop. The women turn, file slowly OUT of the room. Two
of them have their arms around the softly weeping young
girl. When the last have walked PAST the CAMERA, it
STARTS to MOVE SLOWLY TOWARD the battered body in the center of the room.
188. CLOSE SHOT- ZOLL'S FEET
lying quietly on the floor. A ray of SUNLIGHT is coming
through the window -- and we see the feet lying in a pool
of flickering LIGHT.
189. INT. DARK ROOM
dimly LIT by one candle. At the window, his back to CAMERA
stands a half-dressed man. Evidently, he has been roused
from bed. O.S. we HEAR another man's VOICE.
MAN'S VOICE
--They'll be coming through at
Hill 124 at 0400. Sergeant
Steiner and what's left of his
platoon. Their signal will be
two flares in quick succession. then a count of four and a third
flare. We are to hold our fire.
The man at the window turns and we SEE that it is Captain
Stransky. His lips are set tight. The CAMERA PULLS BACK
to reveal the scene as Stransky's bedroom. The man who
has been speaking is Lieutenant Triebig.
STRANSKY
(after a moment)
I see. Who received this message?
TRIEBIG
Corporal Stemple.
STRANSKY
was there anybody with Stemple?
TRIEBIG
No,sir.
Pause.
STRANSKY
How well do you know Stemple?
TRIEBIG
(a split second's
hesitation)
Very well, sir.
STRANSKY
He's a very good -- ah -- "friend"
of yours?
TRIEBIG
(not looking at
him)
Yes, sir.
Stransky looks at him closely.
TRIEBIG
He knows how I feel about Sergeant
Steiner.
A look passes between the two men.
STRANSKY
Then I take it that only you, I
and this Stemple know about this
message.
TRIEBIG
That's right, sir.
Pause. Stransky indicates two packed bags on the floor.
STRANSKY
You know, of course, that I'm
leaving for Paris?
TRIEBIG
Of course, sir.
STRANSKY
(evenly)
I could arrange to have you sent
for. Or would you have some
objection to continuing on as my
adjutant in Paris?
For a moment, Triebig merely gasps.
TRIEBIG
(stammering)
You don't know how grateful I
would be to you for that.
STRANSKY
(after a moment)
If I sent you out on a patrol --
just four men -- two machine-gunners --
If, in the dark, you saw half a
dozen men in Russian uniforms
advancing on you, could anyone blame you if you opened fire?
Triebig blinks. Stransky's voice changes. It rings like
steel.
STRANSKY
Get that creature Steiner off my
neck and I guarantee that you will
survive this war. He must not come
back even if you have to kill him
with your bare hands.
Triebig stands stunned, incapable of speech.
STRANSKY
I know from reliable sources that
the men in this bridgehead have
been written off. Everyone south
of Perekop will suffer the same
fate as the sixth Army at Stalingrad.
Do you want to be here then?
TRIEBIG
(a hoarse whisper)
No.
STRANSKY
within five days after I reach Paris,
you'll have your orders to join me.
You know my connections. What do
you say, Triebig?
TRIEBIG
(stares up at Stransky's
flushed face, swallows
hard)
I -- don't know.
STRANSKY
You have the choice. You can rot here in a grave, or guzzle champagne
in France. Which do you prefer?
Pause.
TRIEBIG
May I know one thing?
STRANSKY
What is that?
Their eyes lock.
TRIEBIG
Why is it so important to you?
If you are leaving here in a few
hours, it shouldn't matter to you
what happens to Steiner.
Stransky steps over to the window to stare out into the
darkness. Finally:
STRANSKY
(in measured tones)
What happens to Steiner is more
important to me than whether we
win or lose the war.
(turns)
But you will not understand that.
It's my personal affair, Triebig.
(pause)
Are you going through with it or
not?
The CAMERA MOVES UP to a CLOSE SHOT of Triebig's face as
he stands, indecisive.
190. CLOSE SHOT-KRUGER'S FACE
The CAMERA PULLS BACK to SHOW that he is looking at the
outstretched figure of Kern who is covered by a blanket
up to his chin. The SCENE is an open field. It is quite dark. Schnurrbart comes RUNNING IN.
KRUGER
Do you honestly think we can slip
through?
SCHNURRBART
Well, we'd have a better chance
if we didn't have to --
(MORE)
(looks at the sleep-
ing figure of Kern,
lowers his voice)
-- lug him along.
KRUGER
What else can we do?
(pause)
Too bad about Kern. That's all we needed.
Suddenly the SCENE DARKENS. The men look up.
191. MOON - THEIR POV
It is covered by thick clouds.
192. MED. SHOT - SCHNURRBART AND KRUGER
SCHNURRBART
That's the end of the moon for
tonight. That's lucky anyhow.
Suddenly Kern turns on his side and lets out a terrible cry.
Kruger and Schnurrbart start. The scream continues to
issue out of Kern like an endless coil of sound unwinding
and unwinding from his throat.
SCHNURRBART
Kern! -- Kern! -- for God's sake -- !
But the screaming continues.
193. FULL SHOT
Steiner, Anselm come RUNNING IN. Steiner kneels at Kern's
side.
SCHNURRBART
(anxiously)
He'll have the Russians on our
necks --
The screaming continues.
ANSELM
(hysterically)
Shoot him! Shoot him! Or it's
the end of us!
Steiner turns such a look of scorn upon Anselm that he
subsides immediately, shame-faced.
STEINER
(holding flashlight
close to Kern's face)
Be quiet now -- You don't have to be
afraid -- we're all with You.
The screaming, which has been dwindling, stops. Steiner
bends to listen to his heart.
KRUGER
If we only had a medic with us.
He ought to have a shot or morphine.
STEINER
(dully)
He's dead.
silence a moment.
ANSELM
Why be hypocrites about it? It's
better for Kern and it's better
for us. We couldn't get through the lines carrying him.
STEINER
(enigmatically)
Yes, he was good enough to die in
time.
ANSELM
What do we do now, bury him?
STEINER
We haven't got the time. Let the
Russians do it.
SCHNURRBART
At least we're going to have some
sort of service, aren't we?
STEINER
I see. You believe in God?
SCHNURRBART
At any rate, I believe we are
dependent on Someone who decides
our fate.
STEINER
I believe in God, too, but I think
He's a sadist.
Pause. The men are silent.
STEINER
All right. For the sake of
Schnurrbart who believes in God,
and so that it shouldn't be brought
up against us at the Peace Table,
we'll have a service.
(grimly)
Gather around.
They do. Steiner looks down at Kern.
STEINER
If Kern had died at home, a few
dozen, maybe even a hundred people
would be standing around his grave
in their best dark clothes. And
they would Say, "So young, it I s
always the best who go first" --
A few weeks later they would have
forgotten him. Let us not forget
him. And let's not feel too sorry
for him. At least now, he's rid
of his guilt.
(pause)
Cover him up -- and let's go.
Steiner STRIDES OFF. The men stand a moment, then follow
him OFF.
DISSOLVE TO:
194. EXT. SLOPING FIELD - NIGHT - FULL SHOT
AS SEEN FROM a trench. The CAMERA MOVES UP to a MED. SHOT
of Triebig and four MEN in the trench.
Two machine guns have been set up. We SEE Triebig stealing
a furtive look at his watch. Then he looks out over the
field, his eyes trying to pierce the darkness. The CAMERA
FOLLOWS his gaze, MOVES SLOWLY DOWN the field. In the b.g.
we begin to perceive a huddled mass. The CAMERA MOVES
CLOSER and we SEE Steiner and his men, lying flat on the
found. Steiner is looking at his watch. Then he looks
toward Schnurrbart who raises a flare gun, FIRES TWO quick
FLARES.
195. MED. SHOT - TRIEBIG AND THE FOUR MEN
their FACES VISIBLE in the LIGHT o{ the FLARES. Triebig's
expression is tense. He turns to the men who are manning the machine guns.
TRIEBIG
Look sharp -- we may be getting
visitors.
The LIGHT from the FLARES dies away. A brief interval
and the THIRD FLARE goes up. In its light, we SEE
Steiner and his men running for the trench.
TRIEBIG
Russians! Fire!
The two MACHINE GUNS OPEN FIRE. The SCREAMS of men mix
with the RATTLE of guns. We SEE three men drop. Then
the LIGHT is gone. All is darkness again.
TRIEBIG
(peering into the
darkness)
Steady now -- they may be coming on again.
A moment's silence, then:
STEINER'S VOICE
(shouting)
Sergeant Steiner here, don't shoot!
Triebig's face goes white. Now, figures are SEEN running
again, for the trench out of the darkness, their arms
upraised.
STEINER
It's US -- Sergeant Steiner! Don't
shoot!
For a moment Triebig stands paralyzed, his face contorted.
Then, when Steiner is almost upon him, Triebig raises his
tommy gun, points it at Steiner's chest.
ONE OF TRIEBIG'S MEN
(frantically)
Don't Lieutenant -- it's one of our
men!
Triebig, unheeding, is about to press the trigger when
the man hits his arm. Triebig's GUN FIRES harmlessly
into the sky. Steiner and another figure jump into the
trench.
196. MED. SHOT - TRIEBIG
slumped against the rear wall of the trench. He is staring
wildly at Steiner who is bent over double, trying to
catch his breath. His companion is also breathing heavily.
We SEE it is Kruger. The man who had deflected Triebig's
aim addresses him.
MAN
You see, Lieutenant, I was right.
It's our men.
Triebig, still staring at Steiner, can't answer. Now
Steiner is standing erect. He fixes a steely glance on
Triebig.
STEINER
Why did you fire?
(savagely)
You got our message!
Triebig finally finds his voice.
TRIEBIG
Uh--uh--what message?
KRUGER
(with nervous anger)
We said we were coming through
in Russian uniforms -- and where
and when --
TRIEBIG
(not looking at anyone)
I don't know anything about any --
(his voice trails
off)
KRUGER
Schnurrbart sent it. He --
(looks around)
Where's Schnurrbart?
A silence falls as the men turn to look through the darkness
at the field. Finally --
STEINER
(voice low but
tight)
Is Anselm there too?
KRUGER
(barely audible)
He must be.
(pause, puzzled)
I don't get it. How could they
help seeing it was us?
Steiner turns to look at Triebig. Then he turns back to
his men.
STEINER
(voice still low)
Bring them in.
KRUGER
(stupidly)
Who?
STEINER
Who do you think? Schnurrbart
and Anselm.
KRUGER
But they must be dead.
STEINER
I know they're dead. Bring them
in.
(to Triebig's
men)
Give them a hand.
Triebig's men look to him for approval. Triebig barely
nods his head, so they scramble up the trench with Kruger
and DISAPPEAR INTO the darkness.
197. MED. SHOT - TRIEBIG AND STEINER
as Steiner turns to face the terrified Lieutenant. Triebig
waits for Steiner to speak but the Sergeant doesn't say
a word. He just looks at Triebig's ashen face. For a
few brief moments, Triebig tries to stand up under Steiner's
unrelenting s tare but he cannot -- and breaks.
TRIEBIG
(hysterically)
It wasn't me -- I begged him -- !
But he insisted --
Steiner's face shows no surprise.
TRIEBIG
He could have me shot, Captain
Stransky!
(his hysteria grows)
I said to him -- what does it matter
to you what happens to Steiner --
I begged him -- I --
He is practically shouting now. The men can be HEARD
RUNNING back from the field. Steiner s laps Triebig hard,
across the cheek, silencing him. His head is down as the
men APPEAR carrying two bodies. with the help of the other men they lower the bodies into the trench. Not a
word is said. Finally the silence is broken by Kruger.
KRUGER
They're finished ail right, both
of them.
STEINER
(after a moment)
Take them back to Battalion. The
least we can do is bury them
decently.
(as the men are
slow to comply)
Hurry up, it'll be light soon.
198. CLOSE SHOT - TRIEBIG
as the men set about picking up the bodies, he looks
anxiously at Steiner.
199. CLOSE SHOT - STEINER
His eyes are fastened upon the two bodies. He doesn't
look at Triebig.
200. FULL SHOT - THE GROUP
as they start down the trench with the two bodies. Triebig
and Steiner are in the rear. As Triebig starts to follow,
Steiner steps quickly to his side.
201. CLOSE SHOT-STEINER AND TRIEBIG
STEINER
(a fierce whisper)
Stay here!
TRIEBIG
But --
STEINER
(his gun in Triebig's
ribs)
Stay here!
Triebig freezes.
202. LONG SHOT - THE GROUP
From Steiner's and Triebig's ANGLE, the group DISAPPEARS
into the darkness.
203. MED. SHOT - STEINER AND TRIEBIG
Triebig turns terrified eyes on Steiner who is looking in
the direction of the departing men. Then he turns to
Triebig.
STEINER
(pointing to
top trench)
Climb up.
TRIEBIG
Why?
STEINER
Climb up!
TRIEBIG
(quavering)
You're not going to shoot me--?
STEINER
(grimly)
I promise you I am not going to
shoot you. Unless, of course,
you don't get up there at once.
Triebig casts an anxious, appealing look at Steiner who
waves to the top of the trench with his gun. Triebig
raises himself to the top, sits on the edge.
STEINER
Stand up!
Triebig stands up slowly, then turns.around.
TRIEBIG
Steiner, I --
STEINER
Turn around!
(as Triebig
hesitates)
Turn around, or I shoot!
Triebig turns. He is now a figure in the darkness. Steiner
reaches into his belt, takes something out -- SHOOTS OFF a
FLARE. The figure of Triebig is BRIGHTLY ILLUMINATED.
TRIEBIG
(screaming)
Steiner -- !
But his scream is lost in the RAT - TAT - TAT of bullets from
the Russian side. Triebig's both hands reach into the
air. He reels, falls heavily back into the trench. For
a moment, Steiner looks down at the dark shape, the LIGHT of the FLARE gone. Then he turns, walks quickly in the
direction the men have taken.
DISSOLVE TO :
204. EXT. KRIMSKAYA STREET HOUSE - DAY - LONG SHOT
A SENTRY stands guard outside. Steiner, dressed now in
a rather makeshift German uniform, walks INTO the SCENE,
exchanges a few words with the Sentry, ENTERS the house.
205. INT. ROOM OF HOUSE - BRANDT AND KIESEL
are facing the door expectantly. It opens and Steiner
COMES IN. Brandt greets him with an outstretched arm.
BRANDT
Well, well, Steiner--you're a
wonder!
(pumps his hand
vigorously)
How you ever got through with your
platoon--!
STEINER
(Wryly)
Another man and me, Colonel.
That's my platoon.
KIESEL
I imagine you have a long report
to make, Sergeant. You'd better
have a cigarette first.
He reaches for his cigarette case.
BRANDT
I don't have to hear the report
to know there's an Iron Cross in
it for you, Steiner.
(quickly)
Now, don't tell me what I can
do with it.
The PHONE RINGS. Brandt picks up the receiver as Kiesel
lights Steiner's cigarette.
206. MED. SHOT - KIESEL AND STEINER
BRANDT'S VOICE
Yes, yes, Captain Stransky.
Steiner stiffens. This is not lost on Kiesel, who snaps
his lighter shut.
207. MED. SHOT - BRANDT ON PHONE
Steiner and Kiesel in b.g.
BRANDT
(coldly)
I'm sorry, Captain Kiesel and I
will be needing my staff car almost
immediately. It's only a mile and a half to the air strip. You can
walk it in twenty minutes -- Good-
bye, Captain.
(dryly)
I hope things aren't too rough in
Paris.
(hangs up)
I could let the bastard have the
car, but to hell with him. Let
him walk.
(to Steiner)
Well, I'm anxious to hear your
story. It must be astounding.
STEINER
May I make a request, Colonel?
BRANDT
Of course.
STEINER
Could I have a few hours sleep
before I make the report?
BRANDT
Why certainly -- even though I'm
consumed with curiosity.
KIESEL
There's an empty room in the next
house. Why don't you nap there --
and report when you're rested.
STEINER
Thank you very much. I'll
do that.
He GOES. The two officers are silent for a moment.
BRANDT
Stransky in Paris...! What
I cannot understand is why this
creature is the one to escape.
Stransky of all people.
(walks to window
and looks out)
Do you know what I'm looking at?
Steiner running down the road
like a madman.
KIESEL
Which road?
BRANDT
The road to the air strip.
Kiesel runs toward the door.
BRANDT
(sharply)
Where are you going?
KIESEL
I've got to stop Steiner... he'll
kill Stransky.
BRANDT
You will stay here.
Kiesel continues to stand, indecisive, at the door.
Brandt's tone becomes harder.
BRANDT
I have given you an order.
KIESEL
Colonel -- you are making me guilty
as an accomplice.
BRANDT
(straightening up)
I am on the point of leading my regiment into a cul-de-sac from
which it has not the slightest
chance of escaping.
(ironically)
If the whole fuhrer business
were to start tomorrow, what
would I most likely do? I'd
close my eyes again - I'd click
my heels, I'd' march, I'd heel!
Germany will lose this war but
Germany will survive.
(puts bottle on
the table)
-- My last bottle of wine. Captain,
will you join me in drinking to the
success of Steiner's mission -- whatever it is?
He starts to pour.
208. EXT. AIR STRIP - LONG SHOT
There are several small planes on the field. Several MEN
are lounging about. One small plane stands on the edge
of a runway. Its MOTORS are WARMING UP. The CAMERA
SWINGS AWAY from the strip towards the road leading to the
air strip. A tiny FIGURE is DISCERNIBLE in the distance.
209. MED. SHOT - STRANSKY
A bag in each hand, is walking toward the strip. The
SOUND OF RUNNING FOOTSTEPS behind him causes him to turn.
A figure is running towards him. His jaw drops as he
sees it is Steiner. Steiner is now close to him. We has
a Luger in his hand. The bags fall from Stransky's hands
as he sees the Luger.
STRANSKY
Steiner--!
STEINER
Clasp your hands behind the back
of your head.
As Stransky hesitates, Steiner makes a menacing move with
the Luger. Stransky puts his hands behind his head.
STRANSKY
Are you aware of what you are
doing? You're dealing with an
officer --
STEINER
I think that for the time being,
we can forget about the differences
in our rank -- and class.
STRANSKY
Steiner -- you'll hang for this --
STEINER
I doubt it.
STRANSKY
I don't know what you're planning,
but you'll never get away with it.
This is a heavily traveled road.
STEINER
In that case, I'll be quick. For
a long time, Captain Stransky, I
haven't had anything to live for --
for a long time -- but
the Russians couldn't do it,
disease couldn't kill me? poor
Lieutenant Triebig couldn't do
it. Not even you could manage
it
(moves closer to
Stransky)
And not wanting to live, yet not
willing to die, do you know what
that kind of a conflict does to
a man?
(laughs in
Stransky's face)
Now, in a crazy sort of way I am
grateful to you, Captain Stransky.
Thanks to you, I am willing to die.
I could shoot you and then the Army
would hang me. But, no, that isn't
good enough.
STRANSKY
(his dignity going, his voice rising)
Are you out of your mind? Steiner,
if you'll just think for a moment --
STEINER
I did think, Captain Stransky.
I thought and thought -- and did
nothing!
STRANSKY
(whimpering now)
Steiner -- Steiner -- you're mad --
you're absolutely mad!
Steiner steps close to Stransky. With his free hand, he
pulls a grenade from his belt.
STEINER
Stand close to me, Captain.
STRANSKY
(backing away)
No -- No -- You can't --
STEINER
(pulls Stransky
to him)
This will do for the both of us
-- the final fraternization --
STRANSKY
(a whimper so low
it can scarcely
be heard)
Steiner -- please -- Steiner --
Steiner pulls the pin from the grenade, holds it between
himself and Stransky.
STEINER
What's the count before it goes off?
STRANSKY
(his lips move, but
no sound comes out)
-- Steiner --
STEINER
Count with me, Captain -- One --
Two --
The CAMERA STARTS to MOVE UP and AWAY from Steiner and
Stransky.
STEINER'S VOICE
-- Three -- Four -- Five -- Six --
The CAMERA is at TREE TOP LEVEL now -- Suddenly there is
a SHATTERING REPORT. The branches of the tree tremble.
The CAMERA STAYS on the tree for a moment. The leaves
stop trembling. There is a vast silence now. The CAMERA starts to PULL AWAY AGAIN. As it DOES:
FADE OUT:
THE END